Oι απαρχές του γαλλικού κινούμενου σχεδίου, μέσα από μια επιλογή αξιοπερίεργων μικρών αριστουργημάτων κινουμένων σχεδίων των αρχών του 20ού αιώνα και
ζωντανή μουσική συνοδεία από το ελληνικό ηλεκτροακουστικό ντούο Acte Vide
Tο ηλεκτροακουστικό ντούο acte vide ("κενή πράξη") ξεκίνησε το 2006 και αποτελείται από τους Γιάννη Κοτσώνη (ηλεκτρονικά) και Δανάη Στεφάνου (πιάνο). Με κεντρικό άξονα τον αυτοσχεδιασμό και τη δημιουργική διερεύνηση του θορύβου, το ντούο πραγματοποιεί συχνά συνεργασίες με ένα ευρύ φάσμα μουσικών, εικαστικών και σκηνοθετών. http://acte-vide.blogspot.com/.
Αμφιθέατρο Theo Angelopoulos - Γαλλικό Ινστιτούτο Αθηνών
Eίσοδος: 5 ευρώ
1 Sculpteur moderne | Segundo de Chomon | 1908. France/Γαλλία. 7 min. 35 mm. 2 Les Aventures des Pieds-Nickelés | Émile Cohl | 1918. France/Γαλλία. 20 min. 35 mm. 3 Touchatout ami des bêtes | Marius O’Galop | 1919. France/Γαλλία. 5 min. 35 mm. 4 Cigarettes Nationales : Complot contre les nationales | Albert Mourlan| 1924-28. France/Γαλλία. 3 min. 35 mm. 6 Citroën : La plus belle conquête de la femme | Robert Lortac | 1920. France/Γαλλία. 1 min. 35 mm. 7 L’Aspirateur du professeur Mécanicas | Robert Lortac | 1922. France/Γαλλία. 2 min. 35 mm. 8 L’Affaire de la rue Lepic | Raymond Galoyer, André Yvetot | 1922. France/Γαλλία. 14 min. 35 mm. 9 Queue en trompette | Benjamin Rabier | 1922. France/Γαλλία. 9 min. 35 mm. 10 La Sève poilifère | Robert Lortac | 1924-28. France/Γαλλία. 4 min. 35 mm.
Υou have been around since 2004, releasing good music, with lyrics that tell stories. What’s the story behind your new releases, “The Shallows” and “Beacons?” “The Shallows” is about our growing relationship and reliance on modern technology. It covers a number of issues relating to it and asks how digital technology we use on a daily basis affects us psychologically and the way we relate to each other. The “Beacons EP” follows on with a similar theme. It concentrates on civilisations that have become victims of progress and speculates what fate may be in store for the very first globalised civilisation.
Your Facebook bio reads: “I LIKE TRAINS are a hidden treasure. Haunting instrumentation and broken, world weary vocals portray a tender depiction of tragedy, past, present and future. Whilst articulating the morose truths of life, the band provide a ray of light.” We live in a cruel world. And it’s getting even worse. What shocks you the most? Do you believe that the light in your music will reach our troubled hearts and minds? I’m not entirely sure where the light in our music is to be honest! From the research I carry out in writing our records, I try to describe what I see in our future and as you say things don’t seem to be improving. I hope that people can appreciate our music for what it is. It seems to me that in these dark times, a lot of popular music seems to be about escapism. I can see the attraction in that, but I also think that someone needs to be writing decent music with a social conscience.
You seem to have become more extrovert and looking to the future rather than the past. What prompted this change of perspective? I think I’ve actually become more introspective. While looking at global issues, I’ve started to speak with my own voice rather than use characters to portray a message. In looking to the future these are issues that will directly affect me and my family. Why the change of perspective? We need to change to keep things interesting for ourselves. You need to challenge yourself creatively or you will keep making the same album over and over again. You say “We were trying to get across the concept that history repeats itself and the human race doesn’t learn from its mistakes.” Do you still believe that, especially when you tell us to look to the future? Absolutely. Even when I am writing about the future I keep looking to the past for inspiration, and when I was writing about the past I was doing so with one eye on the future. Even with all of the collective wisdom of the human race, we’re essentially just selfish animals and end up making short sighted decisions to serve our own short term means.
You have released your second album entirely on your own, through PledgeMusic. Has it been hard to do everything yourself? What are the hardest things about this approach and what are the most rewarding? (e.g. the new social media are a unique way to connect with your fans and audience, such as Twitter or even Instagram, where you are very active). It has been difficult and it has been rewarding. It is as you would expect really. Trying to compete with large label marketing budgets is the most difficult thing. Magazines are more likely to write about you if your label is spending lots of money on advertising in that magazine. Trying to get our voice heard in all of that can be very difficult indeed. As you say social media offers a different more direct way of working, but press and radio are still very important in reaching a lot of people very quickly. Having said that, any success we do have is down to the quality of our records and our own hard work, and has nothing to do with the amount of money someone has thrown at it. That is the rewarding side of it. Few bands, like you, believe in an album as a true art form. You have used unusual and clever ideas such as a book of essays with your debut album or a single’s B-side being the same story from a contrasting viewpoint. How and why did you think of such a different way of creating music and have you any new ideas for upcoming releases? We think a great deal about all aspects of being in a band.We have tried to create our own world where our fans can get as involved as they want to be. Being independent means these things are more important than they have ever been. They can get you noticed in amongst a crowded market place!
What’s the starting point when writing a song? Is there a difference in the writing process between your previous albums and your new material? There is never a set way to create a song. It is important to approach things differently to keep things fresh. We’ve been working very quickly on our newer material, trying to keep an element of spontaneity. The ‘Beacons EP’ was mostly built up in the computer which was a really different and exciting process for us. Using different tools that don’t come so naturally to us to create. I guess the one thing that continues to run through our old and new material is the amount of research I undertake in writing the lyrics. Is there an album that you are most proud of? And what would you say has been the defining moment in your career so far? Always the newest album! If I didn’t think the newest album was the best one, why would I continue! I don’t think there can be one defining moment in an 8 year career. Lots of things. Playing our first gig, releasing our first single, signing record deals, losing record deals, the Pledge campaign, setting up our own label, tours tours tours, arena shows supporting Editors etc etc
Which are your influences and what motivates you at the moment? What have you been listening to lately? We collect more influences all the time! We borrow ideas off enough people and it ends up sounding like I Like Trains anyway. Lately I’ve been listening to lots of dark electronic music. Pantha du Prince, The Knife/Fever Ray, Luke Abbott etc.
How is your tour going and what is a day on tour like for the members of I Like Trains? Have there been any particularly memorable shows? We’re back off tour now. It was great but I’d forgotten how difficult it is to get back into real life when you get home! Typical day on tour is to sit in the van and come up with games and complicated in jokes to amuse ourselves. Play a show and then do some drinking. Its always a bonus if there is a pool table or table football at the venue! Memorable shows. For me Leeds, London, Paris, Cologne and Dresden were highlights.
What about the Greek ones? You are back again - and for this we are extremely happy - for two concerts. How do you feel about that, especially now, in those grim times we are living in? Can’t wait. We’ve genuinely always had a great time in Greece and have always been made to feel very welcome. I’m particularly excited to be visiting Thessaloniki for the first time also. Since we’ve been coming we have noticed some changes. As I’ve said before, I think our music will resonate with the tough times the Greek people are going through.
What’s the plan for I Like Trains in 2013? A soundtrack maybe, since you have had your music featured already on Hollywood film trailers, adverts and television? Not entirely sure. We’re booking some shows for 2013 and starting to think about writing some new music. I wouldn’t expect an album just yet. Soundtrack work is something we would very much like to get involved in. Filmmakers should definitely give us a call… or an email!
“ARROW”τιτλοφορείται το πρώτο single από
το πολυαναμενόμενο δεύτερο άλμπουμ των Irrepressibles,“NUDE”,
προβάλλοντας τη νέα τους μουσική κατεύθυνση που θα συνδυάζει σκοτεινή
electronica με οργανικές
ενορχηστρώσεις, προσπαθώντας έτσι να εξηγήσει την πολυπλοκότητα της ζωής.
Εδώ ο McDermott αφηγείται την ιστορία
ενός αδέξιου αγοριού που καθώς ενηλικιώνεται ανακαλύπτει -στην αναταραχή της
εφηβείας του- την διαφορετικότητά του, μέσα από την αγάπη του για ένα άλλο
αγόρι. Ένα βαθιά ποιητικό κομμάτι για την ομορφιά του ανθρώπινου πνεύματος και
ταυτόχρονα την τρυφερή και εύθραυστη φύση του. Συνδυάζοντας
εξομολογητικούς στίχους του McDermott και την ουράνια φωνή του με την δραματικότητα των ενορχηστρώσεων στο στυλ των
Fassbinder / Kenneth Anger και μια σκοτεινή Ευρωπαϊκή electro, το κομμάτι οδηγείται τελικά σε μια
28 Μαΐου θα μπορείτε να δείτε το βίντεο που σκηνοθέτησε ο McDermott στην
ιστοσελίδα των Irrepressibles όπως
και στο youtube τους, ενώ θα είναι επίσης διαθέσιμο από το iTunes. Την ίδια μέρα
οι Irrepressibles θα ανακοινώσουν στην ιστοσελίδα τους την ημερομηνία κυκλοφορίας του "NUDE" που θα είναι
διαθέσιμο για προπαραγγελία.
·How did you go about creating Get Well Soon?
Did you have a defined vision of how you were going to express yourself? Has it
changed at all? Do you see it as an evolutionary process and if so what are the
triggers to change?
I can’t say I actually “created” GWS. The sound and imagery assemble
all the musical and artistic influences on me and my life, I guess. So I think
it was an actual vision, more like something that came naturally and therefore
it has definitely been changing and it still is, constantly. I’m only partly in
control of that. It’s my private little universe of topics and sounds. I try to
be open to any influence and everything can be such an influence. But I guess
that only a few work in the GWS context. That is very subjective – well, it’s
basically just my personal feeling and taste. So GWS is not a project that
always incorporates the latest fashion. I just keep on building my own private “theme-park”,
metaphorically speaking of course (unlike Michael Jackson).
·How possible is it for Get Well Soon to
present a work that will be totally different from what we’re used to?
I sure hope that I will do something different with every record and
even every song. That’s definitely my aim. So far, I think it all makes sense
in the “GWS Universe”, but as I said, that is constantly expanding. So to
answer you question: I’d say it’s very possible and at some point I will try to
do something completely different. Repeating myself is one of my worst fears.
But I guess I’m not the one to tell if I succeed.
·Going back in time. What was your musical
background? What or who do you see as your main influences and inspirations,
both musically and personally?
I grew up in a musical
family. My father’s a music teacher and therefore there was always music ever
since I can think. It was always the main thing at home. And that was only classical
music. So that’s the one major influence: Classical music. Of course as a
teenager I listened to punk and grunge music, but ever since then I try to have
an open ear for all kinds of music. From electronic to folk, from rock to
avantgarde. I even did my share of hip-hop. Therefore artists that incorporate
many different styles and constantly reinvent themselves are those, that I
respect the most. Like Bowie or Björk for example. Eclecticism is the word. I
think it’s Greek.
·What motivates you at the moment? What have
you been listening to lately?
I was really busy
finishing my third album. In that period I hardly listen to current music,
because that always confuses me. But I do a lot of musical research until a
sound idea forms in my head. In that case it was a lot of 70s and 80s B-Movie
At the moment I’m working on an opera adaptation of Bulgakow’s “The Master And Margarita”,
so I’m trying to work my way into Russian culture and folklore.
·What is your compositional process when you
write a song? Music or lyrics come first (you are strong bonded to both of
I can’t really say. I
always say that “an idea” comes first. Musical or lyrical. But I guess in most
cases it is musical. On “Vexations” I spent way more time writing the lyrics
than writing the music. On the latest album the lyrics came along pretty fast.
But that doesn’t mean they’re less important. On the contrary. Most of the
time, the “fast lyrics” are my favorites. The ones on “Vexations” were just
really heavy and complex. I think a song only works, if the lyrics do too. A
lot of people don’t care about lyrics at all. But I’m at least bothered by very
stupid lyrics. They don’t have to be deep, intellectual and meaningful. But a
lot of pop lyrics are just plain stupid and a bunch of clichés. I’m putting at
least that much effort into it to avoid that.
·Both your full length albums have been very
well received garnering much critical acclaim. Do you now feel the swell of
expectation and public consciousness rising as your audience grows ever bigger?
I would be lying, if I
said that there was absolutely no pressure. I just hope and I already feel it’s
getting less. Because it’s a growth of experience, too. I’m not thinking about
enlarging my audience when I’m writing songs. And even if I did, I wouldn’t
know how to do it. I don’t know what to expect from myself, let alone what
people expect from me.
·What do you think about the media that
promote music (websites, magazines) and to what extent can they have an
influence on a band’s sound?
I know that the media
coverage was very important for GWS. But I think it’s a big mistake to think
about what would please the critics while making music.
On the other hand, music magazines were a major influence to me as a teenager.
I grew up in a very rural area, so magazines were the only way to know what’s
going on in the musical world. And today with the internet, I think that’s
happening even more and even faster. The hype of this week is so over in the
next week. It’s simply too much work to keep track. So I guess, I just have to
be fine with the fact, that some people call my music “old-fashioned”. And I
hardly read music magazines today. I find other fields of art more
·Were you ever tempted to sing in German and
why you haven’t done it till now?
When I started to write music and lyrics I was mostly influenced by
American bands and wnated to sound like them. Since then, it just became my
«routine». Everytime I try to writ ein German it feels very weird. The language
is very rough and edgy and doesn’t really work with my rather melodic musical
·Your last album ‘Vexations’ had many
references to writers (Seneca, Sartre, Marx) and philosophical questions. Are
you considering this to be the basis of your next or a future album as well?
Since I just finished the
next album, I can assure you, it is not a topic. It’s “philosophical” on a much
rather personal level. But I can’t assure you that it won’t be a topic in the
future. It’s just what I’m interested in. It’s kind of a hobby. Again, it’s not
the most fashionable one. But I don’t care.
·In ‘Vexations’, you are talking about fear,
sadness and negative energy in people’s lives. Since then, things have gotten
worse, because of the financial crisis and the climate change. What could save
I have no idea. I was so
tempted, and I guess every artist at the moment is, to make an album about the
apocalypse. And in some way I did, I’m sure.
Maybe it seems strange for me to say that, but: Humor helps a lot. I’m trying
very hard to take myself and things less serious. I didn’t make a “haha-funny”
album, but there is definitely way more irony and self-irony to it than to
“vexations”. Maybe Humor’s the last resort. But I’m not the first one to come
up with that.
·You have studied Philosophy. Do you think
there could be new Enlightenment that would wake people up and maybe guide them
back to all the things they’ve lost (and this is something useful for Greeks
and for Germans too)? Could that happen through music?
I don’t think a very
theoretical and academic thing like the historical Enlightenment is what we
need at the moment. We need action. And there is action. Things are moving. If
it’s in Greece, in North Africa, in the whole damn financial world, even in
spoiled Germany. Things have gotten into motion, that can be abstracted to one
topic: people are no more willing to accept every bullshit that “those in
charge” decide over their heads. This is a fantastic thing. It is a state of
public awareness and disobedience. That is real enlightenment. Of course it is
very dramatic in some cases, but the tendency is very welcome, I think. And of
course music can be an organ and a voice for that. It has been in the past. I’m
not a political songwriter, but I strongly believe that music has a power that
shouldn’t be underestimated.
have a close relationship with cinema. Your songs for Wim
Wender’s ‘Palermo Shooting’, ‘Music For and From Films’ in ‘Vexations’ , Xanadu
and more. What initially inspired you foray into film music? Any favorite
directors you would love to work with?
I always loved movies and
soundtracks. “Once Upon A Time In The West” by Ennio Morricone was one of my
first records as a kid and it still is one of my favorites. So I always wanted
to do music for films. And after the release of the first GWS Album several
directors came to me and asked me to write music. It was like a dream come true:
I didn’t even have to ask. The list of directors I’d like to work with is very
long. My favorites (Kubrick and Hitchcock) are dead. Alive ones: Paul Thomas
Anderson or Wes Anderson or Polanski or… I could go on forever.
are cover lover. Do you choose favorite artists or songs? Or both?
Any song that you would love to ‘transform’?
Some sort of
“transformation” is important. If I choose a song, I would like to add
something to it or take a different approach on it. It doesn’t necessarily have
to be a favorite song or artist, that makes it even harder to transform. It
just has to feel like it’s going to work and that it means something to me. I
played a lot of Beach Boys songs lately. But they’re very hard to play. I’ll
have to find something simpler.
You’ll be in Switzerland
this summer with Sigur Ros. How do you feel about that?
I always admired Sigur
Ros for being so Avantgarde. What I mean by that is that they’re one of the
very few bands in the last 10 or 15 years that created a truly original sound.
They’re very unique and the music is just plain beautiful at the same time.
They’re the proof that original music can be harmonic and “easy” (in a positive
sense). I remember, I took my mother to a Sigur Ros Show 12 years ago.
Although I have to admit that I lost track of their work a little bit after
their first three albums. But I remember them as one of the best live-bands
ever. So I’m very curious and nervous. It will be tough to keep up.
Give us some hints about
the upcoming Get Well Soon album.
Well, I think, I already
did. It is definitely my most summerly-feeling Album and it is definitely my
Cinema-Album. That means mostly B-Movies and a lot of Italian ones. It is less
serious than “Vexations”, which I would describe as the most Classical
I tried to establish a sort of “classy trash aesthetic” on this third one. And
it is very vintage sounding. I hope that’s enough to get you curious and I am
looking forward to an extra Interview on the album.
·You are back in Greece again and we are
really looking forward to see you in Athens and Thessaloniki. Any teaser for
We are very exciting to
be back. We’ll be playing some new songs, but also the smash-hits of our
back-catalogue, of course. We welcome spontaneous song-wishes as long as
they’re out of the common-knowledge-karaoke-catalogue and we also welcome guest
performances on stage. Those that show up dressed as the German Minister of
Finances Schäuble will get free admission.