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Age Of Consent | |
Phil ThorntonArticle from Music Technology, October 1988 |
Through a career that has encompassed the controversy of the Bollock Brothers and the serenity of new age, Phil Thornton has drawn the best from technology. David Bradwell listens in.
Throughout a career that has embraced the extremes of Expandis, the Bollock Brothers and new age music, Phil Thornton has pursued technology for the sake of his art.
When it comes to sampling morality, Thornton's attitude is dictated by his view of music as art.
"I know plenty of people who've sold DX7s because things like the D50 come out, but for me, a D50 will never be as much fun to program as a DX7."
"One of the things about the hip hop scene and rapping that I'm quite inspired by is that there's no morality involved, it's purely an artistic thing. If you take two bars of a James Brown riff and cycle it round and round, you've already changed it. It's no longer a James Brown riff as he intended it. Soon there will be equipment which can sample whole songs, but I don't know if there would be any point in doing that. It's a bit weird when it comes to snare drum samples because most sounds in rhythm boxes are sampled. That sample has got to come from somewhere and we've only got Roland's word for it that they put a snare drum in a studio somewhere."
ON STAGE, THORNTON complements his range of synthesisers with an electric guitar. In some ways he sees the guitar as his first instrument, not because he is most proficient on it, but because it is the instrument that inspires him the most. From there it may seem a logical step to the MIDI guitar synthesiser. Surprisingly, this is not the case.
"If I had the money I'd buy one, but I'd prefer to put an advert in the paper and find someone who inspired me with the way he played it", he explains. "Using a guitar synth to program a sequencer is not crucial to what I do because I don't like the idea of using a sequencer as just a recorder. I think its strength lies in that you can manipulate things and make them sound robotic or natural. If you're going to play a solo you might as well switch your tape recorder on and play a solo. The Clavinet is the only keyboard instrument I've ever come across which even comes close to the physical vibration in your fingers you get with a guitar.
"One thing I've noticed about the way most people use MIDI is it's too easy to just layer things. That's not a very musical way of creating a thick sound, because everything is consistent. If you hit one note harder then all the synths that are slaves will play that note louder which is not something that would happen naturally. MIDI is a great thing, but it has meant that you can be superficially impressive. It has detracted from what making music really is about, like putting in soul and feeling. Producers don't hire specialist musicians to play synthesisers in the way they used to, because now they've got a computer and a rack of MIDI gear. It produces a sound that's fine for the record, but nothing to do with music."
Thornton's enthusiasm comes to the fore, however, when discussing new possibilities technology has opened to him.
"The fact that I can now plug a sophisticated computer-based sequencer into my old MS20 is the most exciting thing that's happened to me in years. One day I'm going to have the most under-the-top computer setup you'd ever believe. When I've sussed this set of gear, I'm thinking of using the Pro24 as the control centre and having another computer create music artificially, like Jam Factory on a Mac. Then I would run the two in tandem so I could start from nothing and very quickly inspire myself."
AWAY FROM THE technology, Thornton sees himself as a musical pioneer.
"In the way I try to create emotion and feel through the use of the equipment. I'm definitely out on a limb", he explains. "I don't collaborate with anybody else, so just by the nature of things I have to be unique. I break rules - I find out how people do things and then go out of my way to do them the opposite way. I love that feeling when you break the rules and come up with something unique. I like working with other musicians and doing the same things with them, almost treating them as pieces of equipment. I don't mean that in a derogatory sense, but rather than scoring something out for someone and telling them to play it, I might play mind games with them and deliberately miss out part of the puzzle. They don't know the whole picture, so then I can take what they saw as an input.
"There is a serious side to synthesisers that a lot of people don't understand. You're dealing with electrical energy to do something artistic, which at its best creates its own energy. The relationship between those two types of energy is very often missed. That side of music and the relationship of colour to music is something I'm intrigued by. Not just the colours, because that's just a certain band of energy. It comes back to what I was saying about manipulating electricity. The same thing applies when utilising colours for inspiration. Numbers can do the same thing. You can take a simple time signature like 7/8 which for most people signifies jazz rock, but you can actually create some unique feels just by taking the number itself seriously. I'm working towards getting as much knowledge about the serious side of new age as possible, not in a cold clinical way, but because I'm actually interested in it."
Thornton belives he has completed the equipment goals he has been working towards for the last two years. Now he is no longer on tour and has time to compose music, he is beginning to doubt the wisdom of his original plans.
"The aim I had with the equipment was to be able to write exclusively on the computer, so I'd got maximum control of the composition side, and then take the disk into a studio. I've now realised that approach actually misses quite a lot of what the creative side of composing entails - collaboration with other people. Just getting a guitarist in means that there are a whole load of opportunities that are missed when you're working on your own with a computer. What I'm going to end up doing is putting ideas down on the computer and taking those into the studio and then bringing in session players. A lot of the things on Cloudsculpting were happy accidents. There's a solo where I'm playing the synth backwards which is something that you'd never really do on a computer in such an inspiring way. It's all very well to play a 'railroad track' solo, where it's over a riff rather than a chord sequence, and then tell the computer to turn the whole thing inside out so that the first note is the last note, but that's not the same thing as turning the keyboard round and actually playing it backwards. That's much more inspiring because it's actually there in front of you. Your fingers can't fall into the old cliches."
Thornton's latest project is a live album entitled Forever Dream. It was recorded at a concert in Scotland at which he was backed for the first time by other musicians. This he describes as a great leap forward.
"I was able to conduct people with an actual feeling for electronic music. I had a didgeridoo player in the team as well. The first gig I ever did playing new age music was at an arts centre in Newcastle. Twenty minutes before I went on stage I went into the dressing room and there was a guy there playing a didgeridoo. I was so impressed with the situation that I changed my set so he could come on stage and play with me. I never found out his name or anything, and I'd never even seen a didgeridoo in the flesh before, but it was just so perfect. That is my philosophy - whatever comes up in front of me I'll be positive about and use."
Driving back to Thornton's home, the composer reviews the past couple of hours, and displays an acute sense of modesty.
"A lot of my time I live a very hermit-like existence and I don't talk to people." Collapsing in fits of laughter, he adds "Being in a small room with synthesisers for long periods of time can drive you completely round the twist. If it wasn't for synthesisers I'd probably be alright."
Interview by David Bradwell
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