Five years ago, Mute returned to its independent roots after separating from EMI. One of the first releases on the newly indie imprint was Soundescapes by Mute stalwart Simon Fisher Turner and one-time collaborator Espen J. Jörgensen. It arguably should have set the tone for Mute Artists’ new beginning, returning the label to the noisy, DIY, uncompromising point where it all began.
On the occasion of the fifth aniversary of Soundescapes, I am republishing my 2011 interview with Jörgensen. This will be followed in the next few days by the re-posting of a further interview with both Fisher Turner and Jörgensen from around the time of the album’s actual release.
Soundescapes is a collaboration between musical auteur Simon Fisher Turner and film-maker / soundsmith Espen J. Jörgensen. The first fruits of this collaboration, the track ‘Noise Activity’, was released on 16 April 2011 as part of Mute‘s Vorwärts compilation; with that title, it is not a terrible surprise that the rest of Soundescapes explores the outer reaches of sound design.
‘I record whatever I like and Simon does whatever he likes with it,’ Jörgensen tells me from his home in Norway. ‘It’s the ultimate democracy; or maybe democrazy is a better word for it.’ Built on a mutual respect for each others’ creative vision, Fisher Turner and Jörgensen have an agreement not to challenge one another. ‘I do whatever I like, and Simon treats the material the way he wants to,’ says Jörgensen. and ‘I don’t comment on the outcome. So you could say that I’m the composer and he’s the re-composer.’
‘Noise Activity’ also appears on the forthcoming Soundescapes album, scheduled for release on a freshly independent Mute in November 2011, replete with a personal endorsement from Daniel Miller. ‘We’ve been working on this album for two to three years,’ explains Jörgensen about the album, recorded over an extended period in between both the composer and re-composer’s other activities, namely Fisher Turner’s scores and solo albums and Jörgenson’s work as a film-maker. ‘Noise Activity’ is our ADHD song. There are a couple of others which are ‘upbeat’, but not as crazy as that; some are very ambient, both light and dark.’
Already familiar with Fisher Turner’s work, I ask Jörgensen about his individual style. ‘I don’t actively try to pursue a sound, and I’m not trying to not pursue a sound. I think a lot of it comes from how I work, which is is more like an exorcism. I try to lure sounds out of devices and instruments. It’s all from intuition. I never write anything. I can have a five minute session one day and then I won’t touch an instrument for a month or two. I don’t do anything if I don’t feel like it.’
‘When I record things it’s mostly to hear what sounds I get if I hook up an instrument, be it circuit bent, analogue or digital, to an effects box or whatever; or it’s from an urge to play or record a beat. I try to record the first time I test an instrument to capture that first meeting or “moment”. I also think that art-by-mistake can be exciting, but I don’t call myself an artist.’
Artist isn’t the only term that Jörgensen doesn’t feel applies to himself. ‘I’m not a schooled musician and I don’t consider myself a musician, and so I can’t really say that I’m influenced by anyone.’
I ask Jörgensen whether his day-job as a film-maker means that the process of film making informs how he makes music. ‘They’re two different worlds, though they’re also not. I think it has more to do with my approach and attitude when I head into the different worlds. I want to be more free with music, so that’s what I do. With film you can improvise and play with the camera, editing and acting, but in the end it’s a lot of work. Music’s a lot of work, too, but Simon gets the hardest job of all – he’s supposed to make my noise work in a context, or a song, if you like. Then again, I wouldn’t call all of the tracks on Soundescapes songs.’
‘I like to write scripts which are more like skeletons,’ he says, returning to film. ‘I think it’s more fun to be open-minded when you work. If you’re not too tied to the script you can make room for things. I think visually, but when I work I often feel, or hear, what kind of music would work well without killing a scene. When I was working with [Faith No More founder / bassist] Billy Gould on the soundtrack for The Sequential Art, my documentary film about comics, he never got to see any of the footage. I told him what I wanted in the form of atmosphere and rhythm, and we worked from there.’
This sense of blind faith and trust also informs the Soundescapes collaboration. Whereas Gould never got to see a single scene, in the case of Soundescapes, Jörgenson and Fisher Turner have never actually even met one another. ‘When I think of it, I’ve never spoken to him either!’ says Jörgensen about this distance collaboration. ‘Our relationship is very text-based. It might sound very odd, but it works very well. I don’t always have control of the outcome with the stuff I record, but I don’t want to control what Simon does either because he does such a great job with putting it all together.’
First published 2011; edited 2016.
(c) 2016 Mat Smith / Documentary Evidence