| par neapzināmo |
[Nov. 16th, 2011|03:06 pm] |
Touring the Souls at Zero material was where we started to
realize that it was all about flow and all about these movements instead
of arrangements; an energy flow rather than technicality. And we
started to experience some—for lack of a better term—spiritual and
mystical moments of trancing out in the music. And it happened in
certain parts more than others. Enemy of the Sun is where we
really figured that out, I think. We were starting to compose music that
was predisposed to that because we were experimenting more at the
rehearsal space with losing our minds and just, you know, going off on
these strange textural tangents where the energy that we could
picture—the epicness we could imagine—was starting to feel like it was
flowing through us. We realized that we weren’t in control of it, that
the secret to getting there was total surrender.
Was this something that you talked about at the time or was it kind of implicit?
It was unspoken. Again, I think it was something we learned over the
years following. We started to unravel that it was a force bigger than
us and it’s only when we put ourselves completely aside that it worked.
Because the mind gets in the way. It might work for other peoples’
music, but for what we were trying to do, we had to get out of our minds
and just let it feel like it was the weather or something flowing out
of the earth and up through us. We had really nothing to do with it
except to be a conduit.
(no intervijas ar Stīvu Von Tīlu)
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