Beyond Nowhere CG: 'Out of Nowhere' is, I would say, a major piece of work! It can't have been easy. JT: Making the basic demos for the album was quite easy in fact. The problems started with the practical stuff. My orchestrator did a practical joke not delivering the work on time. Finally I had to scrape together most of the orchestration in less than two weeks....I was losing my mind. CG: You were supposed to work with
Zbigniew Karkovski...? JT: I don't know what Zbigniew's problem is, but I don't think he acted right. He gave a couple of good ideas for the orchestration, like using the sitar, but otherwise... I think he wants to work on more "noisy" projects. Fair enough. CG: How did you end up doing a record like this? It's probably not quite what most of us might have expected: no machines, instead a full orchestra, choir, even sitar and tablas… JT: I've been tired listening to all that so called experimental electronic music and tasteful techno and endless beats and beats. So I thought I'll make a statement not using any of that technology on my album. I was prepared to do mistakes, allow sloppy playing, sing emotional stuff. Basically anything which is humane. I wanted to have fun with musicians too instead of doing everything on my own. CG: The album was done in Poland... Why Poland? JT: Poland is cheap. And I like Poland. It's kind of similar to Finland. There is a lot of "good enough" attitude there. CG: What did it feel like to work with a symphony orchestra? Was it what you expected? JT: I thought there would have been more bullshit talking about the music and stuff like that, but there wasn't any. Very nice. They just started to play and that's it. Some rhythms were hard for them to play. Especially repetitious stuff. |
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