BLACKFIELD
On June 30, 2011, BLACKFIELD held a concert in moscow. It was the band's first visit to our country. Before the performance, we had the chance to speak with the band's leaders: the well-known Israeli musician Aviv Geffen and British musician Steven Wilson, who needs no introduction.
Interview with Aviv Geffen
What makes the new Blackfield album special to you? Why would you recommend people listen to it?
It's because I really believe that together we've made a special sound and special songs. You can't define what Blackfield is about genre-wise: it's not metal, it's not pop, it's rock, it's something combined together really nicely and it's very rich. If you like Floyd, Radiohead and that kind of stuff, I think you'll like the new album.
So it's about the special sound, right?
Yeah, and I think I've never heard anything quite like Blackfield with so many music styles united.
You guys record your albums in England and Israel...
Right.
...and how does the collaboration between you and Steven usually work?
We record most of the songs in England. I've got a house in London as well, and we're there together luckily for most of the time. I prefer the stage life, the live shows, while Steven is more of a studio guy - he's like the sonic architect. I'm the one who brings the songs, because all the songs, most of them, are mine. So there's a perfect blend between us.
And what's the most enjoyable thing about the collaboration? Can you remember any funny stuff that's happened between you and Steven?
The thing is, my dad is... (on the backstage, a photographer falls from the ladder, everyone's laughing)... you wanted fun... my dad is russian, so a lot of my melodies are inspired by russia, and sometimes Steven tells me it's a bit russian, too russian...
How does the process of splitting the vocal lines between the two of you work? Noting that you have very similar voice timbres, it seems like a very difficult task to divide the lines between you and Steven.
We try to sing together all the way through. If Steven is at the front, I'll be behind him, and in the songs where I'm at the front, he'll be behind me. The combined vocals between us work really nicely, and we try to stick with that sound.
One track from the new album, which in my opinion is very different from the others, was produced by Trevor Horn. Why did you guys decide to bring him into the production instead of doing it yourselves as you usually do?
Because it's the most poppy song we had. And for us, Trevor Horn - who produced my solo album - is like a genius. Having him on board for the third Blackfield album is like a dream.
Why not record the entire album with him?
Because we can handle the rest of the songs. The other songs are too mellow, but this one - we thought it would be perfect to have him with us.
In the 20th century, Great Britain was steeped in music, giving birth to many great musicians from the Beatles and Elton John to Faceless. What do you think Israel can contribute to world music, and what could be the chemistry of music from Great Britain and Israel?
Not many can. The stars in Israel have just started writing in English and going abroad. I think I'm the first one who actually did it, you know. I set aside my ego, because in Israel I'm a big star, and I tried to break through - which I did - and that started a new movement in Israel to go abroad.
What do you think a collaboration between a British musician and an Israeli musician could bring to the world?
Like Blackfield? On the third album I mixed Arabic guitars with Steven's guitars, which are metal, so this blend of styles works really nicely together.
Did Steven infect you with his passion for 5.1 mixing?
No, I hate it.
You hate it?
Boring. Dix. Dix shit.
So that's why Blackfield was never mixed in 5.1, right?
Oh, no. Yeah.
You have excellent songwriting skills for Blackfield. Do you have any ideas for a new project or for further Blackfield development?
Yeah, I've already started writing a new album for next year for Blackfield. Right now I'm in my studio writing as much as I can and... next year, hopefully.
Is this your first time in russia?
No, the second. I played in Hebrew about 7 years ago.
That was solo?
Yeah, this is the first time with Blackfield.
So this is the first time with Blackfield and your second time in russia... Have you been introduced to any russian music?
Oh yeah...
Do you have any opinion on it?
Kino, you know? Kino.
Yeah.
Amazing.
So you like it?
And Vysotsky was translated into Hebrew. A whole album of Vysotsky in Hebrew. It was amazing.
That's great. Any other rock or pop music?
Leningrad.
Oh... that's underground music, you know.
I like it.
That's very interesting. This band is actually from the city where I come from, and it's very special because every piece of music that comes from Saint-Petersburg is very special - it's quite different from other cities.
There is a song by Kino called "Cigarette".
Right.
Very good song.
Yeah. Any final words to the russian fans?
I'm very excited to meet the Blackfield fans from russia for the first time. And I love the country, really.
Really?
Yeah, I'm half-russian, don't forget it.
Steven Wilson also contributed answers to several questions asked separately.
You're a big fan of 5.1 sound mixing, and not long ago you even reviewed several records... Have you listened to any of the Depeche Mode ones, which are considered among the best now, and what can you say about them?
Unfortunately, I'm not that familiar with Depeche Mode's albums. I'm not their biggest fan, so I've never heard anything in 5.1. What would you recommend?
Oh, they're all quite different. Kevin Paul, who did all the 5.1 mixing for the remasters series, tried to make it as close as possible to what the original producers would have done. But I'd definitely recommend the legendary Songs of Faith and Devotion, "Ultra" and "Exciter" - the last two are exceptional.
Okay, "Ultra", "Exciter" and "Songs of Faith and Devotion"...
In addition, you could try "Violator", as it's full of famous songs like "Personal Jesus".
Oh, yeah, "Personal Jesus".
Do you remember that guy from Facebook who was complaining about the loudness of your track Harmony Korine, and you even promised to send an unmastered version... that's me. (laughing)
(smiling) Yeah. Have you listened to it?
No, you never sent it. But I believe the unmastered version is pretty much the same. What concerns me is that this record's sonics are overcompressed dynamically even before mastering. Why not make the recording dynamic in itself? It wasn't a big deal in the 80s and even the 90s...
Well, it was made according to the standards of the time. I can say that my new solo album, Grace for Drowning, avoids that. The record was done very carefully, the result is completely uncompressed, and it sounds very dynamic. I believe the loudness war is more or less over, so things have started to change.
You love to approach the music you make as if it were the 70s, with all these rich vinyl editions, books, and long records that are hard to listen to track by track. Have you ever thought of making an album using old analogue tape recorders, like the Beatles and Rolling Stones did?
No, I doubt I'll ever do that kind of stuff. Because in order to make it analogue, you have to know exactly what you're doing. OK, Alan Parsons or other sound engineers of those times like...
Geoff Emerick...
Yes, Geoff Emerick - they knew what they were doing, and I don't. You know, when I come to the studio I simply don't know how I'm going to do this or that. I'm not that good, and I'm not 100% sure of what I'm doing, so I think I'll stick with the digital way of music creation. It's much easier for me.
Vladimir Vakhlov 30-06-2011