Born as a side-project by To Rococo Rot's Ronald Lippok, Tarwater - in which
Bernd Jestram too is involved - have risen to a proper band, and it's not a matter of
few hours ago. 2000's "Animals, Suns and Atoms" achieved good responses from several
sides of music goers, due to Tarwater's capability of masterly managing different styles in order
to give birth to something never lacking triviality though sounding kind of ear-friendly. The late "Dwellers on the Threshold" remains on the path furrowed by its predecessor, making of the electronic element a more effective glue for the other featured stylistic elements, up to nearly clearing out their distinctive features. It's easy to argue the fans may divide one from
another, many of them could not be enthusiast of such an homogeneization between
styles, as well as they could not appreciate those "uncomplete" songs, kind
of a hint to as-yet-unfinished songs. We haven't read any review but ours.
However, are we an independent magazine or not ?

BEYOND TARWATER'S THRESHOLD…

 

Is there something autobiographic in such a title, kind of split-Berlin reminiscences, or are you simply referring to the hybridness of the music you play ?
We are all dwelling on a threshold of somekind. Being itself it is very much about finding yourself in an inbetween kind of situation.
The new album features a lot of short songs, kind of sounding like the introduction for (unwritten) "complete" and longer songs. What about this stylistic choice ?
We have always been big fans of intros an intro seems to promises anything. Our favourite intros are 'Eldorado Overture' by the Electric Light Orchestra and 'Time Captives' by Arthur Brown.
Each of your previous works seemed to develop a definite idea. Does "Dwellers" feature different compositional themes, perhaps coming from the different collaborations you have taken part ?
"Dwellers…" was inspired a lot by the film music we were doing at the same time. You compose in a complete different way if you have to react on something like images, text or dancing.
Autobiography seems to emerge again in '1985' song. Where were you in that year ? Had you already started playing music ?
In 1985 we started our tape label Assorted Nuts in East Berlin featuring our projects Ornament Und Verbrechen and Aufruhr Zur Liebe. But the song '1985' is actually based on a novel by Arthur C. Clarke written in the 40s.
I think Tarwater's music draws from different sources (pop, rock, wave, ambient), with the correspondant different features being melted by an electronic touch in a way to make them sound like a unique feature, as if you wanted to unstress such differences ?
Yes, it's very much so.
Which "real" instruments have you used for the recordings of "Dwellers", and how many of them have you been able to bring on the stage throughout the years ?
We used a bunch of organic instruments like guitars, african percussion (played by Nicholas Addu-Netty) and even instruments built by friends.
You released "Not the Wheel" for a Polish label - Gustaff. What about that album ? Why did you choose to get it out pretty unobserved ?
When we started with Tarwater in 1995 some of our first fans came from Poland. We did a tour there and our records where released on tapes by Gustaff Records. To us it was just a "herzenssache" to release something very special for Poland.
Are you going to release any single from "Dwellers" ? I would suggest 'Now', at least as a B-side…
We are working on a Christmas 7" with a song entitled 'Bowie's Sell Me a Coat'.
People seem to be paying more and more attention to European electronic music, above all its minimal-avantgarde side (think of labels such as Morr Music). What's your opinion on this matter ? Do you think it's just gonna be a transient fashion, or it's something having been rooted in music goers not just since now (think of 70s electronic pioneers or 80s house) ?
Electronic music is around for quite a while now through the years. It has lost its futuristic and other worldly appeal and is now somehow part of the acoustic all day life environment we are surrounded by. But there is still a lot of space for the unexpected.
You are frequently involved in soundtracks and generally in making music for particular events (theatre, poetry, art installations). Have you ever released music written for that kind of target ?
For the French version of "Dwellers…" we compiled some of our work for soundtracks; for the Chicago label Crosstalk we did a vinyl only release with music for theater and a 7" with music we did with the Babelsberg filmorchestra released via Oregan, US.
Napoli's gig within the tour for "Animals…" was indeed successful, we - Freak Out crew - were thankful of your reliance in the organization of that gig. What do you remember of that night in Naples, and of the city itself ?
Nice food, an intense night, "stromausfall", traffic anarchist, we love the south.
Things seem to be ready for a major deal for you. Do you ever think of it ? Do you think your way or working could meet major labels' dynamics ?
We prefer to work with people we know and with people who love music rather than companies that have to sell oil or refidgerators aswell.

Roberto Villani

si ringrazia Ass. Interzona.cc per le foto