The Finger Prince (Interview)

The latest episode of ADSR – an Interview series that looks at the Australian electronic music scene – visits Sydney techno duo The Finger Prince:

We talk music writing and recording processes as they break down the mix for the title track off their ‘Mao’ EP – how they got the sounds and what synths and gear they used.

It’s all analog gear – 808, 909, 303, Juno 6, Moog, Jupiter 6 and many more… if you are into hardware you are in for a treat.

They also talk about their techno label Motorik!, their recent remix of The Presets and how acid is blame/thank for the name and more.

You here more from The Finger Prince on SoundCloud or check on their label site.

Brian Eno On Genius, And “Scenius”


Brian Eno had some interesting comments on genius vs “scenius” at the Sydney Luminous Festival:

I was an art student and, like all art students, I was encouraged to believe that there were a few great figures like Picasso and Kandinsky, Rembrandt and Giotto and so on who sort-of appeared out of nowhere and produced artistic revolution.

As I looked at art more and more, I discovered that that wasn’t really a true picture.

What really happened was that there was sometimes very fertile scenes involving lots and lots of people – some of them artists, some of them collectors, some of them curators, thinkers, theorists, people who were fashionable and knew what the hip things were – all sorts of people who created a kind of ecology of talent. And out of that ecology arose some wonderful work.

he period that I was particularly interested in, ’round about the Russian revolution, shows this extremely well. So I thought that originally those few individuals who’d survived in history – in the sort-of “Great Man” theory of history – they were called “geniuses”. But what I thought was interesting was the fact that they all came out of a scene that was very fertile and very intelligent.

So I came up with this word “scenius” – and scenius is the intelligence of a whole… operation or group of people. And I think that’s a more useful way to think about culture, actually. I think that – let’s forget the idea of “genius” for a little while, let’s think about the whole ecology of ideas that give rise to good new thoughts and good new work.

Certainly there was a “scenius”for electronic music in the 1970’s, when Eno did some of his most important work. We may have a scenius now, too, spurred on by the surge in creativity that Internet media is driving.

What do you think is more important – the contributions of individuals like Eno, or the time and the scene that they work in?

via MoreDarkThanShark

Brian Eno Curating Sydney Music Fest

Brian Eno is curating this year’s Vivid Sydney Fest, being held May 28 to June 14 in Sydney, Australia.

Here are the details:

Sydney Opera House presents Luminous – an annual festival of music, debate, light and performance. Curated by Brian Eno, this inaugural year features a plethora of music acts alongside public talks and spectacular light and art installations from May 28 to June 14.

In a brilliant display of colour, Eno will launch Luminous with the lighting of the sails, transforming Utzon’s masterpiece into an artists’ canvas. The festival will also feature Eno’s image/sound installation, 77 Million Paintings. Acclaimed at the Venice Biennale, this constantly evolving, totally original audio/visual experience will run throughout Luminous as a free event in the Studio.

Music highlights include New York supergroup Battles, UK synth-popsters Ladytron, Irish singer/songwriter Damien Dempsey, Fourth World trumpeter Jon Hassell, Reggie WattsLaraaji, the voice of Underworld Karl Hyde, and Jon Hopkins.