Interview с Ion : DARKSIDE.ru

Duncan please tell what's new with you recently? What are changes in your creative work? How is work on your project "Ion" advanced?

The first album 'Madre, Protegenos' is finished and was released late last year in Europe. It took me a long time to get it finished but it's finally ready now.

You collaborate with Russian vocalist Emily A. Saaen. How did you get acquainted with her? Did she find you herself?

Emily contacted me and sent me some of her songs. I thought they were wonderful and asked her if she would like to sing on a couple of album tracks. I sent her a demo, and she returned it with a vocal take, which was almost perfect. From that she ended up singing on most
of the album. She is a great talent, I hope to work with her a lot more.

Musicians from different countries with different cultural traditions take part in "Ion". What is necessary to awake your interest in creative aspect?

It’s more their presence that is important, than anything really creative. It is a very minimal album and there is not much instrumentation going on. Its nice to have these different textures going on to fill the space in the songs. I’m into the fact that there are people from all different countries involved.

Are you open for any cultural influence or do you prefer some of them?

I have an interest in traditional and folk music from many different cultures. To me its a very pure and un-pretentious form of expression. Many years ago I bought a load of vinyls from a strange bookshop in Liverpool, many Russian folk records, Hungarian folk, Turkish music and so on. Theres some amazing stuff on them that I would never have heard if they hadn’t been so cheap to buy. I'm also into traditional Irish music and English folk, as I was brought up with this music. Since I was a child I was going to folk festivals every year with my parents.

It is interesting that you are at least the second musician who collaborates with Russians recently. Do you know that Stefan Hertrich from "Darkseed" also recorded album for his project "SpiRitual" cooperating with a Russian girl? And even video for one of the songs and design of the album were made by Russian guys. What do you think of this?

That sounds interesting, I will check it out.

What people besides Emily do you now collaborate with? Are you going to keep on cooperating with those who helped you to record "Madre, Protegenos"? Or will you seek for new musicians for next albums?

I'm not sure what will happen, or where I will be by the time the next album comes around. I hope to stick together with Emily in the future. It all depends on our circumstances and what is possible at that time.

Is "Ion" your only project for today? Don't musicians from other bands invite you?

I've helped a few people out during the last few years, and been invited to play on some albums. I recently played keyboards for a Greek band BullDoza on their album, which is stoner rock type of stuff. I havent heard the mix yet, but I should have a copy in the next few days. It sounded good last time I heard it. Another band from Italy, En Declin, got in touch with me and we will do something together. I was really impressed with what I heard from them.

"Madre, Protegenos" was recently released in Russia. Who was initiator of this release – you or Irond records? Why did you choose this label? Did you have suggestions from other labels?

It was released in Europe by Equilibrium Music and I suggested Irond to them, as I have worked with them in the past and they have always been very professional. I have no doubt that they will do a good job again with this release. A couple of other labels enquired, but the agreement with Irond was already made.

What do you think about commercial side of music? How much is it important for you?

I have no interest really. Obviously cds need to be sold, and need to be presented in an attractive way. That can be an artform in itself, but actually making commercial music for the sake of being commercial and making money is something that I have nothing to do with.

Are you going to organize a concert tour to support the album? What are the chances to see you in Russia one day?

Sure, Im looking forward to taking this music out live. And yes I would love to play in Russia. It is one place I have yet to play, and I heard many good things about it. Also, obviously Emily is there and would be great to get together in her own country.

Do you travel much or do you have no time for it? What is the source of your inspiration?

Yes, I travel whenever I can, and I'm always inspired from seeing new things and learning about different cultural habits and that.

You played many concerts with "Anathema" and now your attention is attracted to studio work. What do you like more – playing concerts or working in the studio?

My favorite thing with music is sitting

in a room with other musicians, playing and singing songs in a relaxed atmosphere or at a party. The studio can often be a sterile environment, for recording anyway. I do enjoy mixing though and listening to the final mixes of songs. I enjoy playing live under the right circumstances. I'm not keen on being on a big stage, and having many people looking up and shouting for no reason. I like small, intimate venues where there is a sense of togetherness and not a big divide between the musicians and the listeners. I also enjoy when people join in playing or singing, they can be the magic moments of playing live.

Whatever one may say many people know you and keep an eye on your creative work because of your participation in "Anathema" in the past. What are your relations with them nowadays? Do you like their latest works? Haven't you thought of appearing with them in one concert?

They have written some great songs since I left the band. I'm looking forward to hearing their next album, as I think this will show their true identity and direction. I speak to Danny and Vinny quite often. I recently did two unplugged gigs with Vinny in Turkey that was a good experience and seemed to go down well.

It is certainly difficult to record an album collaborating with so many people who are all from different countries. How does it usually happen, could you describe a process? Do you compose all the parts yourself or give your musicians a free hand in their parts?

It wasnt so difficult really as it’s such minimal music, there is not much going on. As I said before, the textures there are the important part. I composed pretty much all of the instrumentation, but I asked Shane (the viola player) to improvise his parts on O Efeito do Verao at the end. As for the vocal melodies, I had them already written but asked the singers to try and add what they feel to suit their styles.

What do you think about voice in the musical composition - should the vocal parts have sense or it is for you just another additional instrument which should be clear to any person independent on his native language?

I think it is important for the singer to be able to have a connection with the song and the lyrics, and put that feeling into it. I'd like to think its more than just an instrument when singing
lyrics.

Emily cooperated with other bands. Did you hear about them? These are, for example, such bands like "Altera Forma". How are you aware about Russian music?

I don’t know too much Russian stuff. I know Moo

n Far Away, which Emily was involved in their production. I guess I know more traditional Russian music, I often play some of those songs at weddings back in Ireland. It gets people dancing.

You followed the long path like musician. What leaded you to heavy music? And how did you come to what you are doing nowadays?

I was into heavy music when I was a kid. I got into rock music through the Beatles and then got into Pink Floyd and other stuff. At the same time I was into extreme music I was also listening to stuff like Roy Harper and Bob Dylan, and also some strange acid music and that. There is always been a mixture of music there, I was never narrow minded in that way. How I got to what I'm doing now is through whatever circumstances led me here I guess. I don’t know any other way to explain it. It came from an idea that I had and things grew from there.

What sense do you put into your music? What should it bring to listeners?

The intent behind it is about self-improvement and hope. I'd like to think that some people get the message and get something positive from that.

Are you able to compose custom built music? Did you have to do this?

I'm not sure what that means. (laughs)

Duncan, it's a jocose question. Why are you always sad, at least in photos? Are you cheerful in general?

Its so people feel pity for me and buy the albums. (laughs) I try to be cheerful whenever I can. I spent a long long time battling depression, and made a conscious decision a few years ago to pull myself out of the dark. I'm not doing too badly now, it just takes a bit of work and belief.

Is there any album of the other bands about which you regret that you are not its author?

I'd love to have written “Revolver” by The Beatles or “Into The
Pandemonium” - Celtic Frost.

Whose advice concerning music would you respect/follow?

Ian MacKaye and Roger Waters.

What do you think, if J.S. Bach lived nowadays – what music would he compose?

He'd probably be ripping off My Dying Bride and Opeth.

What could you sacrifice to music? Do you have anything more important in your life?

Total peace of mind, clarity, higher consciousness, a million euros. That would be enough.

Are you engaged in something else beside music? Or is music everything for you?

I also run a record label, which is obviously music related, but I often have to deal with non-musical things with that.

And in the end could you say a few words to you Russian fans?

Thanks for the interest. I hope to get over there sometime this year.
Be lucky!

Sergey «E_X_I_L_E» Kanatyev
29.01.2007
31 янв 2007 the End

Ion

Pull Yourself Out of the Dark