The Live Process: A Brief Discussion With Stephan Mathieu

With the recent coverage of Stephan Mathieu’s superb performance at Cafe Oto in the bag, Pascal Savy managed to catch up with the artist to discuss the intricate process of playing live…

Can you talk about the instruments you’re using for this UK-tour?

I’m going to play a vintage zither, a Columbia Phonoharp from the late 1800‘s and a shortwave radio. I send both through my computer, by interaction with the software I’m using the two instruments modulate each other. This setup is very much an autonomous organism, I don’t have too much impact on it apart from controlling several parameters while trying to keep things interesting.

What is the origin of this project?

A couple of years ago, I performed a concept called Radioland which is very close to this one, but since I’ve added the Phonoharp, which I’m playing with E-bows, the sound gained more harmonic and melodic qualities. I was looking for this specific zither because I’m a collector of 78rpm records, especially very early gospel from the 1920’s. It is the same instrument that Washington Phillips, one of my favourite gospel preachers used to play, the project is a dedication to his music.

How does this setup relate to your latest release ‘A Static Place’?

I recorded ‘A Static Place’ with the same setup that I’m using here. It’s the same software, a patch performing real-time convolution and spectral analysis. Instead of the mechanical gramophones I used for ‘A Static Place’ I’m processing the Phonoharp and radio to have them melt with each other.

What is your compositional process and how does this impact on the listener?

For my computer-based pieces I usually record a lot of material first, give it some rest and then select the interesting takes after a while. I keep those recordings 95% unedited since I like the autopoietic qualities of the material. Also I don’t use effects like delays, artificial reverbs or the likes, so what you hear is the sum of the spaces from within the source material, be it 78rpm records, the acoustic sound of the zither or signals captured by the radio. In ‘A Static Place’ or ‘Radioland’, there is no multitracking involved, everything is realtime processed stereo files. A crucial part is the composing of the final sequence for the CD with the final selection of material.

How does your music function in the listening space?

Ideally I like to have the pieces played back at a high volume, so they become rather absorbing. For me, my stuff doesn’t work too well in the background.

The process of my pieces becomes only finished in the listener’s space, so it’s rather an active kind of listening I’m hoping for. I like the idea of sound traveling, traveling and traveling through various spaces while each space has its own impact.

When you play live, how do you relate to the audience?

While I’m playing it’s very much me and the instruments, I’m focused on that.

How does the space in which you play influence your music?

The venues I’ve played so far during this tour were all very much traditional concert venues. I actually prefer to play in historical, unusual environments, spaces that are rich acoustically as well as historically. In regular, rather neutral concert places you’re mostly facing problems concerning the PA system, while spaces that have their own, sometimes difficult sound characteristics, can make you forget about that and ideally help creating quite a special experience.

To me, in an ideal scenario I’m using a multichannel loudspeaker system and people can move freely during a performance instead of being seated. My music comes more alive when listeners can change position.

How do you use the computer when you play live?

Actually I didn’t play computers live for almost 3 years now, but focused on electro/mechanical-acoustic projects instead. I only used the computer in the studio as a recording device. It’s only since a few months ago, that I started using computers in a live context again, I was very much fed up with it as a instrument. Also from the visual aspect, as a listener I still find it hard to focus on music when I see a musician playing a computer – I’m always find myself wondering: “What is he doing there?” instead of listening in a focused way. Since I found a way to integrate the Phonoharp in a computer based live setup I feel more comfortable playing for an audience. I feel people can relate to my sound  in a better way when there’s a visual reference.

You’re a keen gardener. Do you see a relationship between your music and your garden?

I used to live in a house which had quite a large outdoor space, a beautiful piece of real wilderness and while taking care of it, I found this work is very much connected to my music in a way. What I did to turn it into a garden usable for kids is very similar to what I do with my music: leaving things untouched, or at least not turning them upside-down, rather giving them a certain direction, smoothing them out, while having them evolve by themselves.

- Interview by Pascal Savy for Fluid Radio

Small photographs taken by Gianmarco Del Re
Main photograph taken by Michael Berland

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