2000, le petit label new-yorkais Lucky Kitchen vient de s'installer
à Londres. On découvre avec une curiosité attendrie
le petit monde que semble contenir les valises de l'espagnole Sandra
Salinas et de l'américain Aeron Bergman, une miraculeuse cuisine
électronique où l'on célèbre la famille,
les amis et les lieux où ils évoluent sous des formes
musicales relevant du polaroïd ou du journal intime. Pendant
les trois années qui nous séparent de cette interview,
Lucky Kitchen s'est installé à Logrono en Espagne et
a produit une douzaine de nouveaux disques, dont la déroutante
et brillante "Sparkling Composers Series" qui regroupe des
albums de Stephan Mathieu, Joshua Abrams, Aerospace Soundwise, Tetsu
Inoue/Stephen Vitiello, A.f.r.i studios, Toshiya Tsunoda, Toshiyuki
Kobayashi et d' Alejandra & Aeron. Ayant également publié
des albums sur Diskono, Lowlands et Tomlab, le couple Salinas/Bergman
sort ces jours-ci Bousha Blue Blazes sur Orthlorng Musork.
About Lucky Kitchen as a group of friends
Yea, i'd say it's correct. I think LK is our ideology and friends'
ideologies, and our audio aesthetics baked onto CD and sent through
the post to other friends/potential friends. It is important to
like someone and understand them as a person to like/dislike their
music fully. We are not a closed group of friends though, we are
ready for new friends and their music. We are trying to keep Lucky
Kitchen as idealistic as we can, because there are many things in
life that have to be practical, but we don't want LK to be one of
rules to Find and Use the Hits
There wasn't really a concept with this one, but more of a work
process. We were using these field recordings that we had been compiling
as source samples in electronic composition. We had DAT, MD, Hi8video,
and DV video tapes full of family, friends, cities, pubs, nature
sounds and more. Through electronic equipment we were making all
these sounds sound natural one with the other, but we also wanted
to preserve the beauty of the original recordings themselves. We
basically edited our favorite field recording moments onto one CD-r,
and our rearrangements of them onto a second CD, hand-sewn a pajama
and sand-paper package, and shipped them off to peole we thought
may be interested in them. We "found" and then "used"
the "hits" or sounds we thought hit something within us.
This was our first project. It was the beginning of Lucky Kitchen.
It describes our love of field recordings, their value by themselves,
as sound diaries, as audio documentations, and as sound sources.
It was also an invitation for other people to use our sounds for
their own purposes. We are very proud of this work because it is
a blend of our lives, our desires, and what we wanted LK to be.
Lucky Kitchen as the most human electronic music label
I like that we are getting this point across. I think that music
can be many things at once-science and technology /literature/ composition
/tradition / avant-garde/ performance/ history, and of course, it
is ultimately a form of humanism. I think the science and technology
part is exciting and essential, but way overrated. There are humans
making the machines, turning the machines on, and pushing the buttons
on the machines - this indicates a certain implied perfection -
also built-in dynamic creative imbalance. We are trying to play
in this area of the human imperfect machine. Actually there is a
chaotic perfection within "human imperfection" that is
beautiful, scary, and no different than nature itself. Machine music
that relies too heavily on grid-like rigid machine structure creates
somehow, without forcing anything, or making it some hippy thing,
or a Dada theater throwing poop or something. We don't know exactly
how to do this yet.
Aeron : I don't know what is going to happen to us in Europe, but
I know moving hightens one's senses. I miss New York, especially
all that food, but I'm getting used to London. I don't want to define
Lucky Kitchen too closely for fear of fencing it in. It has been
difficult to communicate with Daniel in New New York however, it's
a long distance between Europe and America.
We record a few times a week, bits of this, and bits of that - whatever
quotidienne sound catches our fancy at the same time we're carrying
a recording device. Also, we often record with more rigorous idea
schedules, such as my Sounds of Music in and around New York project,
or our Folk Music of Northern Spain project. Overall, chance moments
and controlled patient recordings are gathered, organized, edited
and assembled into communicative, and mostly logical compositions.
We love to play live shows. We try to make it interesting, but without
any sort of spectacle. We want to talk to people, make obvious that
there are people behind the machines. We don't want it to be perfect,
we think it's o.k. If we make a mistake and we don't try to act
professional or important. We try to show ourselves how we are.
We want to make our shows unique and fun. There are two extreme
poles in electronic performances as I see it : 1. The ultra minimal
complete unresponsiveness of Ryoji Ikeda 2. The ultra baroque extravaganzas
of the Pet Shop Boys and their live shows. Neither of these options
really much appeal to us because ultimately it is some sort of act.
We would like to sit down and talk to everyone at our shows like
a little family party. We like to give everyone a little gift somehow
- candy and toothbrushes (when we play with the Children's record),
or Big Apples (When we played with New York Music). The visual part
of the show I guess is us standing there in front of some equipment,
talking a little, and maybe wearing matches teeshirts. We have some
ideas though about filling out graphs on overhead projectors and
stuff. I don't want to make some theater thing, or a rock show no
way. We would also like people to participate with us an over-dramatic
strive for perfection, that for me is vulgar and comical. Kraftwerk,
and a few others have understood this - the humor in their music
is subtle but present. (Who else could pull of such ridiculous outfits?)
I think there is sincerity, honesty and depth within "imperfect"
and humanized musical pursuit. Funny, because although I dislike
most things that humans do, I still feel compelled to record, comprehend,
and give dignity to them. There is a love/hate relation with technology
as well, we love/hate our computers, TVs and radios, because it
is a form of economic and social manipulation, but they brighten
our daily life as well.
The most beautiful moments are made by humans/nature. My computer
is a really great tool that allows me to talk to friends, family
and strangers alike. Machines are tools that can be used for good
or evil. We try to use them well, but we always have in mind their
original dubious economic origins. I have to talk about what I know
and care about - everyday life, family, friends, and the landscape.
We also think that the lives of "important" people should
not be the only ones to be recorded, we want to record the person
that walks through the street, the baker, our grandmothers, and
our own lives because we don't believe anyone is more important
than anyone else.
We have met so many good people doing this. Sound is about kids
and grownups in their bedrooms, or on their porch because they love
Sandra : We come from a visual arts background. We are very comfortable
in audio and visual worlds, and overall, try to work with concepts
instead of constricting ourselves to any particular medium. Our
packaging has as much thought aesthetically and conceptually as
the sound itself. I treat sound as any other medium, but I find
it more rewarding lately. Sound is a very powerful mnemonic device,
it can bring you to places and times far away. We have collaborated
with Michel Auder (French video art pioneer, based in New York),
whose installation "5 Ring Circus" (shown in NYC at AC
Projects, as well as Germany) has this amazing soundtrack we thought
stood on its own, independent of the images. We also listen to criticism
from visual artists, which we find helpful, and we also get emails
from visual artists who would like to help us out. We would be happy
to accept their help.
Aeron : Our training has been in the visual arts. I have a Masters
in Art History, and another in Art and Technology (University of
Toronto, and NY University). We make fine art, video, drawings,
installations, and have had some gallery shows. Overall, we have
just had more luck in the audio world for some reason. Unfortunately,
we have found that the most audio that the fine art places can handle
is vapid dance music. We hope this will change, there has been some
audio art activity in Berlin, and New York, and we hope this continues.
I think our work operates within an implied visual space. We explore
the ideas of snapshots, short film, home video, video games, science
fiction, and literature through sound - each strongly suggesting
visual environments. This space is very exciting to us. Also, I
find the most interesting developments in XXth Century music have
come from the visual artists, futurists, Dada, Duchamp, and John
Cage. However, I believe that the borders between these mediums
are unnecessary and harmful, and that fresh winds blow where the
tall walls have been torn down.
things which were not asked but needed to be answered anyway
We don't think lucky Kitchen is naïve, I think we are more
aware than a lot of people, we just make a conscious effort to be
nicer. There are enough nasty things going on in the world, we'd
rather add some good things, and point out bits of wonder. We would
like to highlight Sandra's audio contributions on various CDs, because
she spent many long hours in front of ProTools, and other manly
tools, just like the boys.
Interview réalisée par e-mail en janvier 2000.