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Interview Ganga

Interview Ganga

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Published by Gangamusic
Red woman from the great video hifilove by videoartist TinyMe. Made for the track hifilove by chillout downbeat artist Ganga.
www.ganga.dk www.myspace.com/gangalounge
Red woman from the great video hifilove by videoartist TinyMe. Made for the track hifilove by chillout downbeat artist Ganga.
www.ganga.dk www.myspace.com/gangalounge

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Published by: Gangamusic on Feb 20, 2008
Copyright:Attribution Non-commercial

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07/30/2010

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INTERVIEW GANGA
What was the first music you remember hearing?That must have been my father playing the piano…some classical piece. Cantremember what it was, but I have a pretty good idea of what it sounded like. Healways played that piece…Maybe it was Sibelius actually.And how did you first become involved in music?I started to play classical oiano when I was about ten or so. A few years later Istarted to take guitar lessons. In highschool I played guitar and keyboards indifferent bands. A few years after highschool I started to study churchorgan at “The Royal Danish Musicacademy”. There I played only classical music, but Ispecialized in improvising, and that gradually led to composing and writing moreand more music. I had always written songs for guitar, but when I graduated fromthe academy I bought a sampler and later on a computer, and then I just startedfrom scratch to write, record and produce my own things. I hooked up withdifferent people, mostly singers, and then it moved on from there. I come from aclassical background.What was like your favourite tracks and artists at that time?I think right about that time where I started to write my own stuff I was listeninga lot to Brian Eno, Orb, Massive Attack,Underworld and that whole new electronicscene that was really taking of there in the mid/ start of the nineties. I listened toa lot of ethnic music at that time – Indian, Balinese. And Mahavishnu Orchestras “Inner Mounting Flame” from 1971 is my fauvourite album and was definitely agreat inspiration at that time and still is – one of the main reasons I became sointerested in working with the violin.But ethnic music was a great inspiration for many years, and I actally studiedsitar in Varanasi for a few crazy weeks and later on I took “Tingklik” lessons onBali. Ethnic and ethnic inspired music has definitely been a great inspiration to me– “Transglobal Underground” – that sort of English/ ethnic inspired bands.Actually that first record from Enigma was a great inspiration as well – mostlybecause of the production I think. Cant really listen to it today though..
Tell us about your first music experiences and how you discovered the“DOWNBEAT MUSIC” and “CHILL MUSIC” universe…
 
I think I discovered downbeat and chill more or less when I found out that thething I wrote at that time, was what you call downbeat or chill. I was just writingand producing my tracks and was not that interested in how you would categorizeit in a certain style. Even today I think this genre is defined by a huge diversity instyle – which is great. I must have come across ambient or chill in the start of thenineties at the raveparties and so…Brian Eno, Philip Glass and Steve Reich aresome of my oldest and biggest heroes, so in a way it goes even further back..tothe eighties.
How is your relationship with other exponents of CHILL OUT andDOWNBEAT music scene? I’m talking of Josè Padilla, Bonobo, Bent,Banzai Republic, Bliss and people like that…I have good relationship with Banzai Republic, they (Buda) alsomade additional production on five tracks on “I Dream About Trees”. Ifeel much more related to their music than f. ex. Bliss. We have a lot incommon musically, and I am working with him right now on some newGanga tracks. DJ Ravin also is a good collaborator and I definitely wantto write some tracks with him sometime in the future.And what about producers from abroad? Who are those you appreciatethe most and that you feel “close” to your musical vision?Murcof is one artist I admire a lot. I think his work is fantastic. BanzaiRepublic, Cantoma, Luke Vibert, Deadbeat, Swayzak, ThieveryCorporation, Trentemoller. All of these I feel conenected to – in verydifferent ways and for different reasons.Tall me about your work with television and series of film and otherdocumentaries, culminating with the sound track for the movie"Metropolis"…A friend of mine asked me to score a short documentary back in 98, andfrom there on I started to get more and more into filmwork. I found outthat I really enjoyed writing music to accompany visuals. And it just tookoff from there.The last couple of years I´ve worked on a project called“Filmogmusiklive” (Film and music live). The concept is to write new
 
frame by frame music for old classics like Fritz Langs “Metroipolis” andperform it live so people get a real experience of musicians performingwhile watching the film. There is nothing new in this, but the fact thatthese scores are scored frame by frame makes it a lot more exiting, Ithink, than all the other live film music projects people are getting intothese days.I performed that score live with 6 musicians on the Danish RoskildeFestival in 2004, and in 2005 I scored Buster Keatons “Steamboat BillJR” also to be performed on Roskilde Festival. Next year I am scoring“Battleship Potemkin” together with Danish filmcomposer androckmusician Peter Peter (exmember of the band “Sort Sol”) . We hopeto put out a dvd with the new score and then promote it live on f. ex.Roskilde Festival.What made you decide to start Ganga, and what would you say definesthe sound of thisproject?Gangas sound is a mixture of many things. What defines “I Dream AboutTrees” best, is probably the laid back melodic poppy hooklines bothinstrumental and vocal. And then ofcourse the Balearic guitars andgypsylike violin. I think there is some Pink Floyd to the sound as well asa dubby feel to some of the tracks.Let’s talk about your new album, starting from the title: “I Dream abouttrees…”
What working methods do you use to compose your song?There is not one method. All songs starts out in different ways. Sometimes they just start out with a little guitarriff and then I take it to my studio and it ends upwith a totally different song and the guitarriff is dumped. Sometimes I write asong with lyrics and it ends up an instrumental thing. Some track emerge fromthings I have written for soundtracks, and other stuff lies around for years, andthen I suddenly find it and use it for new inspiration. I write many songs just forthe guitar, and then mess it up in the studio and invite musicians to come and jam. The song “Don’t Cry” actually emerged from a guitarpart and vocalline andlyrics I made in India in 1995 – and then suddenly one day – nearly 10 yearsafter – it’s the backbone inspiration for a song.

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