Modern Tango World N° 6 (Montreal, Quebec) | Page 35

I decided to create a little music project out of it.
I set up a recording studio, came up with a name
for the band and started looking for musicians to
join it. Of course, in the first place I invited my
colleagues NAME?? (bass) and NAME?? (violin),
accepted gladly. The bandoneón player was at that
time pretty busy with a lot of other projects and
actually wasn’t very much interested in making
electronic music. So, I got someone else, NAME??
(bandeneon).
After our first album, Felino, was released in 2004,
we started to hold concerts. We were invited to
play in many tango festivals across Europe, because the tango scene welcomed our music as
new and interesting. After some time, I felt like the
time was right to make another album. I called it,
Adrenalina. In 2011, it was ready to be released.
Iknew that it was a big risk, since at the time, the
electronic tango wave started to go down, I decided to release it in Buenos Aires, to get some
more attention for it by the tango scene and press.
MTW: Let’s look at the way that you work. How
do you approach composition? Where does your
inspiration come from?

Sverre: The composition process was very different between the first and the second album. The
music of the first one was either created for the
TanGhost or inspired by it. The music focuses on
the search of a purpose for this theatrical piece,
with Pablo trying to do the same on his dancing. It
was quite a challenge to follow the direction of the
story, which exists outside the music. Some songs
were very difficult, because of some peculiar limiting theatrical factors, rather than musical, such as
length, dynamics, intensity.
On the other hand, when I compose for myself, as
was the case for the second album, the difficulty
comes from the absence of extra-musical factors.
Having too many limits and too much information
is as dangerous as having too few of it. So, I usually start to build things freely one over the other,
until at a certain point I stop and realize, OK, that
is too much. At that point, I go back and remove
everything I find unnecessary to the overall result.
In Adrenalina, I tried to recreate a live concert of
Electrocutango. focusing less on electronica and
more on acoustic sounds and on the relation between human musicians and machines.

— 35 —

To Subscribe, Click