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Serj Tankian Discusses New Projects, Collaborations
Friday, May 21st, 2010
by Asbarez
Musician Serj Tankian is a busy man. His most recent project was a
collaboration with the Auckland (New Zealand) Symphony Orchestra to
produce a symphonic version of his successful solo effort `Elect the
Dead.'
Asbarez Special Correspondent Irina Lemberg caught up with Tankian to
discuss this effort and other projects on the Horizon.
Tankian will be the featured performer at the June 5 Museum of
Contemporary Art Member opening for the highly-anticipated exhibition,
Arshile Gorky A Retrospective.
IRINA LEMBERG: How was the idea of making the symphonic version of
Elect the Dead born and how did you get into contact with the Auckland
Philharmonic Orchestra?
SERJ TANKIAN: I was contacted by Jooles Clements the Marketing and
Development Manager of the APO about doing some sort of collaboration,
and I was happy to respond and see if we could make something work
out. I was honored that an orchestra wanted to collaborate with me and
had been thinking of incorporating orchestral elements into my next
solo record, so it was perfect timing. The fact that it would be in
New Zealand was a bonus too, given my love for spending time there.
There was lots of correspondence back and forth to try and figure out
what the expectations were on both sides, so that we have a firm
understanding about the event. I then proceeded to start writing the
orchestrations for my songs to be played with the APO.
I.L.: What can you tell us about working with the musicians of the APO?
S.T.: What can I say? They were really great to work with. And I'm
thankful that they possessed the sense of humor necessary to deal with
some of the music's built-in antics.
I.L.: To what extent were you involved in the rearrangement of the songs?
S.T.: I wrote all the primary cello, viola, violin 1 and 2 and a brass
melodies and then worked with a Kiwi orchestrator, John Psathas, to
flush out all of the arrangements for the full 70 person orchestra. To
do this I had to strip down my tracks back to just piano and vocals or
acoustic guitar and vocals and build everything back on with
orchestral instruments. It took a long time but was well worth it.
I.L.: When you were done, did the orchestral version of Elect the Dead
sound as you had imagined it would or different?
S.T.: It sounded better than our mocked up versions of course since it
was a real orchestra playing the music.
I.L.: Did you find that you had to sing differently or adjust your
voice when singing with an orchestra, as opposed to with a rock band?
S.T.: There were minor changes in projection necessary to sing with an
orchestra. When singing with a rock band, you're competing for
frequencies with the electric instruments so the vocals can be a bit
more pushed or abrasive. With an orchestra, the clean, strongly
projected vocals are preferred. I think it's the best I've ever sang
those songs.
I.L.: What can you tell us about the previously unreleased songs on the album?
Falling Stars and Blue were released with the premium package of Elect
the Dead but only in acoustic versions. Those songs are arranged with
the full orchestra in full form here. In addition to that, there are 2
songs, The Charade (both orchestral and rock versions available) and
Gate 21 I performed Gate 21 on piano without the orchestra.
The song will be on my new solo record, Imperfect Harmonies, with full
orchestrations.
I.L.: Along with the CD, you released a DVD of the APO performance,
which captures the intensity and passion of the performance by zooming
in, zooming out and fading, often in synch with the music. Were you
involved in the production of the DVD?
S.T.: Only so far as approving the video edits and producing the whole release.
I.L.: How and what did you feel moments before coming on stage in Auckland?
S.T.: I was a bit nervous but mostly excited since I had never
performed with an orchestra before, let alone wrote for one. It was
very exhilarating.
I.L.: So, in essence the APO performance was a dream come true, for
you. Were you surprised that this wasn't a one-off, but resulted in a
tour?
S.T.: I was thankful that a large number of orchestras around the
world were interested in performing my songs from the Elect the Dead
Symphony with me.
I.L.: On this tour, you'll be performing with the orchestras of each
city where you're performing?
S.T.: Correct.
I.L.: How does that work?
S.T.: We send them the sheet music ahead of time, then do a few
rehearsals with them and play the show.
I.L.: Who will you be performing with on July 30, 2010 at the Greek
Theater in Los Angeles?
S.T.: We are looking to push this show to September to coincide with
the release of Imperfect Harmonies, my next solo record, where I'll be
playing with a full orchestra and the band.
I.L.: Will you be performing at any of the European festivals this summer?
S.T.: Aside from the Elect the Dead Symphony tour in Europe in June,
we're planning a full assault with the FCC and orchestral elements for
the new record in Europe in August (including Greece and Armenia), and
the U.S. in Sept/Oct. I can't wait.
I.L.: You usually work with 3 or 4 guys and instruments. What was it
like to work with such a huge amount of instruments and so many
people?
S.T.: The experience allowed me to learn how to better orchestrate for
large ensembles. And that has been instrumental to my current work on
my 2nd solo album.
I.L.: Do you have a release date in mind for that album?
S.T.: We're looking at the end of August for now.
I.L.: What can you tell us about your next solo album?
S.T.: My second solo album is electronic, orchestral (live orchestra),
jazz and rock all at the same time. It is a sound I've never heard
before, and for me, borderless. It will be called. `Imperfect
Harmonies.' It is a very powerful and intriguing record with many
layers. Yet it's also memorable in the way good songwriting should be.
Some of my favorite records are so compelling that they require
multiple listens to try to figure out what's going on. It sports a
huge wall of sound, depth, and the maturity of a seasoned artist, so
I'm told.
I.L.: Will you be releasing snippets of the songs, prior to the album
release date for those of us that can't wait to hear this new sound?
S.T.: Yes. We'll have a single out by late June and some other
snippets on our sites.
I.L.: When creating this unusual and unique sound do you consider how
your fans will react?
S.T.: I write all the time, when the muse comes to me. I don't think
at all in those moments. I really don't consider anyone outside of the
inspiration generally when it comes to making music.
I.L.: So, you're writing more orchestral music?
S.T.: Besides using an orchestra for my next solo record, I'm writing
a full classical-jazz symphony (instrumental) for orchestra to release
in 201I.L.:
I.L.: Will fans see Serj, the rock/metal musician, ever again or has
he evolved into something new?
S.T.: I have a huge archive of unreleased songs in all genres that
will eventually creep its way into the ears of the interested,
including more rock.
I.L.: You're quite vocal and politically driven on the issue of the
Armenian Genocide. This past year we saw the Genocide front and center
as the Armenia-Turkey protocols were signed. How do you think the
protocols will affect the work you and so many others have done toward
the international recognition of the Armenian Genocide?
S.T.: I think the majority of Armenians are unconvinced of the Turkish
intentions regarding the protocols given their simultaneous
continuation of disinformation and denial while talking about
rapprochement, coupled with the addition of the Karabakh issue to
appease Azerbaijan. So far, the so-called protocols have not yielded
any positive effects except for it being used as an excuse for
Congressmen to vote against the genocide recognition bill. No borders
have been opened nor any real diplomacy succeeded. True diplomatic
rapprochement begins with positive steps. How about Turkey dismantles
its disinformation and denial campaign in the world for a start?
I.L.: Do you believe the Protocols are a viable way of addressing the
Armenia-Turkey issue?
S.T.: Not as they are presented or executed at this time. I believe in
the diplomatic resolution of conflict between nations where justice
and good intentions are placed as the top priorities of that
developing relationship. Otherwise, it's just a photo-op for ulterior
motives.
I.L.: Are you planning anything for the special opening night event at
MOCA for the Arshile Gorky: A Retrospective exhibit?
S.T.: Yes. We'll have some traditional Armenian instruments, a DJ, and
a few other players entertaining the crowd and paying tribute to
Gorky.
Friday, May 21st, 2010
by Asbarez
Musician Serj Tankian is a busy man. His most recent project was a
collaboration with the Auckland (New Zealand) Symphony Orchestra to
produce a symphonic version of his successful solo effort `Elect the
Dead.'
Asbarez Special Correspondent Irina Lemberg caught up with Tankian to
discuss this effort and other projects on the Horizon.
Tankian will be the featured performer at the June 5 Museum of
Contemporary Art Member opening for the highly-anticipated exhibition,
Arshile Gorky A Retrospective.
IRINA LEMBERG: How was the idea of making the symphonic version of
Elect the Dead born and how did you get into contact with the Auckland
Philharmonic Orchestra?
SERJ TANKIAN: I was contacted by Jooles Clements the Marketing and
Development Manager of the APO about doing some sort of collaboration,
and I was happy to respond and see if we could make something work
out. I was honored that an orchestra wanted to collaborate with me and
had been thinking of incorporating orchestral elements into my next
solo record, so it was perfect timing. The fact that it would be in
New Zealand was a bonus too, given my love for spending time there.
There was lots of correspondence back and forth to try and figure out
what the expectations were on both sides, so that we have a firm
understanding about the event. I then proceeded to start writing the
orchestrations for my songs to be played with the APO.
I.L.: What can you tell us about working with the musicians of the APO?
S.T.: What can I say? They were really great to work with. And I'm
thankful that they possessed the sense of humor necessary to deal with
some of the music's built-in antics.
I.L.: To what extent were you involved in the rearrangement of the songs?
S.T.: I wrote all the primary cello, viola, violin 1 and 2 and a brass
melodies and then worked with a Kiwi orchestrator, John Psathas, to
flush out all of the arrangements for the full 70 person orchestra. To
do this I had to strip down my tracks back to just piano and vocals or
acoustic guitar and vocals and build everything back on with
orchestral instruments. It took a long time but was well worth it.
I.L.: When you were done, did the orchestral version of Elect the Dead
sound as you had imagined it would or different?
S.T.: It sounded better than our mocked up versions of course since it
was a real orchestra playing the music.
I.L.: Did you find that you had to sing differently or adjust your
voice when singing with an orchestra, as opposed to with a rock band?
S.T.: There were minor changes in projection necessary to sing with an
orchestra. When singing with a rock band, you're competing for
frequencies with the electric instruments so the vocals can be a bit
more pushed or abrasive. With an orchestra, the clean, strongly
projected vocals are preferred. I think it's the best I've ever sang
those songs.
I.L.: What can you tell us about the previously unreleased songs on the album?
Falling Stars and Blue were released with the premium package of Elect
the Dead but only in acoustic versions. Those songs are arranged with
the full orchestra in full form here. In addition to that, there are 2
songs, The Charade (both orchestral and rock versions available) and
Gate 21 I performed Gate 21 on piano without the orchestra.
The song will be on my new solo record, Imperfect Harmonies, with full
orchestrations.
I.L.: Along with the CD, you released a DVD of the APO performance,
which captures the intensity and passion of the performance by zooming
in, zooming out and fading, often in synch with the music. Were you
involved in the production of the DVD?
S.T.: Only so far as approving the video edits and producing the whole release.
I.L.: How and what did you feel moments before coming on stage in Auckland?
S.T.: I was a bit nervous but mostly excited since I had never
performed with an orchestra before, let alone wrote for one. It was
very exhilarating.
I.L.: So, in essence the APO performance was a dream come true, for
you. Were you surprised that this wasn't a one-off, but resulted in a
tour?
S.T.: I was thankful that a large number of orchestras around the
world were interested in performing my songs from the Elect the Dead
Symphony with me.
I.L.: On this tour, you'll be performing with the orchestras of each
city where you're performing?
S.T.: Correct.
I.L.: How does that work?
S.T.: We send them the sheet music ahead of time, then do a few
rehearsals with them and play the show.
I.L.: Who will you be performing with on July 30, 2010 at the Greek
Theater in Los Angeles?
S.T.: We are looking to push this show to September to coincide with
the release of Imperfect Harmonies, my next solo record, where I'll be
playing with a full orchestra and the band.
I.L.: Will you be performing at any of the European festivals this summer?
S.T.: Aside from the Elect the Dead Symphony tour in Europe in June,
we're planning a full assault with the FCC and orchestral elements for
the new record in Europe in August (including Greece and Armenia), and
the U.S. in Sept/Oct. I can't wait.
I.L.: You usually work with 3 or 4 guys and instruments. What was it
like to work with such a huge amount of instruments and so many
people?
S.T.: The experience allowed me to learn how to better orchestrate for
large ensembles. And that has been instrumental to my current work on
my 2nd solo album.
I.L.: Do you have a release date in mind for that album?
S.T.: We're looking at the end of August for now.
I.L.: What can you tell us about your next solo album?
S.T.: My second solo album is electronic, orchestral (live orchestra),
jazz and rock all at the same time. It is a sound I've never heard
before, and for me, borderless. It will be called. `Imperfect
Harmonies.' It is a very powerful and intriguing record with many
layers. Yet it's also memorable in the way good songwriting should be.
Some of my favorite records are so compelling that they require
multiple listens to try to figure out what's going on. It sports a
huge wall of sound, depth, and the maturity of a seasoned artist, so
I'm told.
I.L.: Will you be releasing snippets of the songs, prior to the album
release date for those of us that can't wait to hear this new sound?
S.T.: Yes. We'll have a single out by late June and some other
snippets on our sites.
I.L.: When creating this unusual and unique sound do you consider how
your fans will react?
S.T.: I write all the time, when the muse comes to me. I don't think
at all in those moments. I really don't consider anyone outside of the
inspiration generally when it comes to making music.
I.L.: So, you're writing more orchestral music?
S.T.: Besides using an orchestra for my next solo record, I'm writing
a full classical-jazz symphony (instrumental) for orchestra to release
in 201I.L.:
I.L.: Will fans see Serj, the rock/metal musician, ever again or has
he evolved into something new?
S.T.: I have a huge archive of unreleased songs in all genres that
will eventually creep its way into the ears of the interested,
including more rock.
I.L.: You're quite vocal and politically driven on the issue of the
Armenian Genocide. This past year we saw the Genocide front and center
as the Armenia-Turkey protocols were signed. How do you think the
protocols will affect the work you and so many others have done toward
the international recognition of the Armenian Genocide?
S.T.: I think the majority of Armenians are unconvinced of the Turkish
intentions regarding the protocols given their simultaneous
continuation of disinformation and denial while talking about
rapprochement, coupled with the addition of the Karabakh issue to
appease Azerbaijan. So far, the so-called protocols have not yielded
any positive effects except for it being used as an excuse for
Congressmen to vote against the genocide recognition bill. No borders
have been opened nor any real diplomacy succeeded. True diplomatic
rapprochement begins with positive steps. How about Turkey dismantles
its disinformation and denial campaign in the world for a start?
I.L.: Do you believe the Protocols are a viable way of addressing the
Armenia-Turkey issue?
S.T.: Not as they are presented or executed at this time. I believe in
the diplomatic resolution of conflict between nations where justice
and good intentions are placed as the top priorities of that
developing relationship. Otherwise, it's just a photo-op for ulterior
motives.
I.L.: Are you planning anything for the special opening night event at
MOCA for the Arshile Gorky: A Retrospective exhibit?
S.T.: Yes. We'll have some traditional Armenian instruments, a DJ, and
a few other players entertaining the crowd and paying tribute to
Gorky.