AE Paterra
Paul Lawler
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Noisey: How did you two meet, and when did the idea for Contact originate?
Paul Lawler: I had just finished writing an electronic prog album called Opus, back in early 2013, and by chance came across a link on Facebook to a track by Zombi, who I'd never heard of before. I absolutely loved it and bought a few of their albums right away. I sent an email to Tony the same day and said, “I love this music, I just did something pretty similar,” and I sent him a link to Opus. After becoming mutual fans, we agreed on writing something together.AE Paterra: I run VCO Recordings with Steve Moore, my partner in Zombi, and we decided to release [Opus]. I listened to the album quite a bunch and knew that Paul's style of writing would complement the way I play drums, and from those thoughts the idea of collaborating was discussed in earnest.What is the significance behind the name?Lawler: I suppose you could say it's about making contact on different levels, from me reaching out to Tony across the ocean and connecting musically, to making direct contact with the listener's consciousness, which in turn can often become a part of their history and life memories. That's a very powerful thing to be able to achieve with music. It also just sounded like a good band name.Being that there is an ocean separating you two, how did the writing process form? Was there a set way of doing it, or did it vary by song?
Lawler: Usually, I would write a track and send it for Tony's input, or he would send me some sequences and a bass line, and I would build the track around these elements. After we got the mock-ups right, Tony went and recorded the live drums which were eventually sent back to me for the final mixing.
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Lawler: I have a varied mix of influences for this style of music, artists like Space Art, Jan Hammer, Tangerine Dream, Klaus Schulze, Systems Music, Pat Metheny, Vangelis, The Enid, Pink Floyd, 1970s-80s TV and film music and such.Paterra: I tend to not listen to much music when I'm writing—too often, I've started something only to realize it later sounds too much like what I'd been listening to as of late. Instead, I focus on the ideas being thrown around, constantly listening and working things out in my head. Of course, there's a lifetime of music packed in there, every note recorded—it finds a way out eventually. I think my influences are pretty apparent—drummer-wise I've been listening to a lot of Billy Cobham, anything with Earl Palmer, Steve Gadd, Jeff Porcaro. Recently, I saw Bruce Hornsby in concert and Sonny Emory just blew me away. Lots of Genesis—being a full on lefty drummer I feel a certain kinship with Phil. And of course, a lot of what's packed in this brain of mine, from years of listening, is pretty much every note Neil Peart ever played.
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Lawler: Is it such a new thing, though? Star Wars was number one in the charts back in the 70s, The Good The Bad and The Ugly was too, each of which spawned a thousand disco remixes. The theme from the TV series Inspector Morse was also a chart hit over here in the 80s, as was Alan Parker's wonderful theme from Dempsey and Makepeace, and dare I mention “Axel F!”
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Paterra: Logistically I've always thought of it as strictly a studio project. But if it's somehow possible to perform live, I'd love to give it a shot.Lawler: We need to see where it goes and what the reaction is to the album before thinking about that, but it's entirely doable. Although, I imagine it would need to be with a four to five piece band to be effective, and like Tony says, logistically it could be a problem. Although with the right budget nothing is ever too difficult.With instrumental music you don’t have the ability to use lyrics as a way of delivering a concise message; instead you rely solely on the rhythm, the feel. Do you find that composing instrumental music pushes you to be better songwriters?
Lawler: I'm not so much a fan of songs anyway, I often feel the vocalist and the lyrics get in the way of a good instrumental track. It's true you do have to work harder to make a successful instrumental track when you don't have a set of deep and meaningful lyrics to capture the average person's imagination, but this is probably a reason why most people prefer songs anyway, as it tells them what the music is meant to be about. It takes a certain kind of person to willingly, and lovingly, sit through a 60-plus minute instrumental album and make up their own stories to it.
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Lawler: Writing music to any brief is a bit like wallpapering somebody else's house, you get a say in the color scheme and choice of textures, but ultimately you're hired hands. Writing albums is the ultimate freedom of expression, providing you have a label that supports your direction, which we did have with Temporary Residence, who loved the EP right from the early demo tracks.In your own opinions, what is it about this EP that is different from everything prior you’ve been a part of?
Paterra: This is the first time I've made music with someone I've never met in person. With the scope of Paul's compositions, file sharing works really well—I couldn't imagine us sitting together and jamming out any of this material. As a drummer, I'm always trying to find a good composer to work with, and Paul fits the bill rather well.Lawler: For me, Tony's drums add a whole other level of energy and vibrancy to the mixes. I think we have successfully created something that is retro-modern, yet different from anything else on the market today, and not forgetting of course that it's released on glow in the dark vinyl!Joe Yanick is on Twitter - @JoeYanick