Q & A with Nicollas Collins
Q: Do you think there's a place for musique concrète, today? Given that information travels so fast, and no one seems to have the time, or the will, to listen, really listen. I talk of young people at least..
A: Well, I've never been a big fan of traditional "musique concrete" -- in the words of my mentors, I never liked the way natural ("non-musical") sounds were "pushed around" in order to fit more-or-less traditional musical forms. But phonography -- the most interesting new genre of non-Pop music -- represents a wonderful update and ideological correction of musique concrete, with a rather diverse base of producers and fans.
Q: Do you think analog means of producing sounds are still up to date? Or has digital come to stay? What material or software do you use to compose?
A: I've been using instruments since 1970, analog circuits since 1972, software since 1977. They're all useful, and are not out of date -- it's all a question of what you do with them.
Q: What's the composer (or composers) that influenced, and influences, you the most?
A: Alvin Lucier, Christian Wolff, David Tudor, Peter Cusack.
Q: In what way, if you could explain?
A: There's a book there... you can read some of my on-line essays: http://www.nicolascollins.com/essays.htm
Q: Listening to your album, Devil's Music, I thought for a second of Public Enemy. Did they influence you in any way? And do you think the hip-hop scene in the 80s influenced modern electronic music?
I'm not really sure hat you mean by "modern electronic music" (see below), but there are an increasing number of sub-genres in Pop music that are highly electronic, and considerable crossover between Pop and non-Pop in which hip-hop (and numerous other genres) have influence.
Q: Is there a future for electronic music?
A: Probably more so than for string quartets, sadly. Most music is electronic these days, by my definition (all it takes is earbuds...)
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