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Rrose: Mini-epiphanies on a weekly basis

Rrose. Photo: Press. Hier findest du die deutschsprachige Fassung des Interviews. Rrose is one of the most prolific US-american electronic artists – within and outside the realm of club music. Before taking on the name Rrose, Seth Horvitz originally started releasing music under the moniker Sutekh in the San Francisco Bay Area scene of the late nineties. Compared to earlier Techno generations, Horwitz and his peers seemed to persue a rather critical and intellectual approach to dance music. They wanted to discard the neon-colored flippery of the raves of the nineties employing new technological options approaching Techno in a rather stern fashion to unleash the uninhibited liveliness of the music. Using new software like Max/MSP he developed a tumbling, multilayered dance sound that was more volatile and vivid than anything heard before. In the early 2000s, Horvitz left dance music for a couple of years. Working with the music of classical and modern composers such as György Ligeti, Conlon Nancarrow or Johann Sebastian Bach he treaded academic water. Returning to the club scene as Rrose, Horwitz merged his music into a gender bending performance act inspired by Marcel Duchamp. In the email interview our editor-in-chief Alexis Waltz digged deep into his interest in classical and modern music, the ideas behind the Rrose persona and the legendary dance music scene of the bay area of the 1990s he grew into as an artist.  In November you released your first Rrose album that is not a collaboration. Why is now the moment to do that? What did you express on the album that you didn’t express in your previous work?  I’ve been working on this album off and on for several years, but I kept changing my mind about which tracks to use, adding new tracks, taking away tracks, second-guessing whether it’s good enough. With a helpful push from some close friends, I finally accepted that it was done. For me, an album must feel like a complete statement, a kind of symbiotic whole where all the parts speak to each other somehow. I try to do this on a micro-level with each track I create, but it is a much greater challenge to apply an entire album’s worth of material. I obsess about the beginnings and endings of tracks, the transitions. I tried to be faithful to the ideas and techniques that I explored in previous work while also refining those ideas and hinting at things to come. It’s a delicate balance.  You collaborated with 20th century vanguard musicians such as Charlemagne Palestine, you perform compositions James Tenney, at the same time you produce straightforward techno music which can be mixed into DJs sets without understanding the context of your work. What’s the relationship between one line of work and the other?  Sustained concentration and attention to the physical qualities of sound are themes that run through both my techno music and my collaborations and interpretations. Tenney and Palestine are very different composers, but they both cherish patience and show a reverence for the subatomic elements of sound, overtones and the harmonic series. I share that reverence and try to incorporate it in the techno I make.  Rrose. Photo: Press. „I honestly thought I was finished with techno and moving into different areas.” EP and track titles such as „Merchant Of Salt”, […]

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