GOLDIE Interview
Autorin: Katrin Meinke
London am 17.09.01
Glückwunsch zum Mix-Album! Doch mal ehrlich: Eigentlich wartet doch jeder auf Dein drittes eigenes Album - wo bleibt es?
My own album, yes. First of all my apologies for that. I've been going through really bad times with my record company. I played them some stuff and they weren't into it. And I was like 'this is me, man', you know? This is what I do: I make drum&bass very deep, I'm not really into commerciality. I love the fact of being commercial for the fact that people like you and your music becomes acceptable for what it is.
Nachdem die Kritiker "Timeless" gefeiert hatten, ist "SaturnzReturn" nicht gerade bereitwillig aufgenommen worden. Es galt als prätentiös und bombastisch...
One thing you have to understand is that 'Timeless' and 'SaturnzReturn' are two very different kind of things. 'Timeless' is an external album which is always going to be external: This is a kid in the ghetto which has been pushed into the ghetto and realises what life is about. And doesn't realise what life is about, he realises he's here and it's all: Why? What? Who? When? What is this, life and living? "SaturnzReturn" is an album like: This is what my life is about. It's internal. It's like with science: You can explore science two ways. You can look out and go and look the stars with telescopes, and you know what's really crazy about that? On this planet they don't look into the sea that much. And that's the beauty of life, that people here have the ability to look inwards, into their lifes. But people get very scared of depth. The depth of the sea, what's on the bottom of it, what's there. What secrets does the depths of this planet hold for all of us... When you dig in the ground, you find out more about yourself then when you're doing when you look out in the sky. And that's the philosophy I have with this.
Bist Du denn konzentriert bei der Sache mit Deinem dritten Album?
Now, in doing this album, there was also something else going on. I had a hidden agenda, which I didn't really know about, which was the film. And the film has probably been - for three years, since I started making the album - halfway through I stopped and I went: 'something is wrong, something is irritating me, something is bugging me'. And now I know what it was: it's the film... which is "Sine Tempus", which is on collision... You have "Timeless", "SaturnzReturn" and you have this album which is "Sonik Terrorism", which is the working title, which I might to have to change, but the thing with this connection is that it's a triangle and it's very strong. This (Sonik Terrorism) couldn't get done without these two, because this is balance. The record company and everyone else went like: 'Can't you be a little bit more...?' I was like: 'No, I can't, this is what I do!" So the film being the vision for me, because when I close my eyes I can see "Timeless". I see life, I see life so much. Because when you have no life and you live until you're eighteen with no real life, you realise about life...
I think that people get very frustrated with people like us who have the ability to do stop, because they go: 'Goldie, "Timeless", and then you did "SaturnzReturn", I can't understand it!' And I'm like: 'Well, you're not supposed to understand it.' Because before I went into the studio with "SaturnzReturn", I knew it wasn't gonna be accepted. I knew I'll be crucified. I felt like Jesus almost. Because you realise that this inward journey is on your own, and it's a very place where people are not going to want to go. People don't like to be submerged too far without air, you dive too far without air, you got to come up again. And what I managed to do is I managed to dive with "Saturn Returnz" and dive without air, I didn't need it anymore. And in that dark gloom of it all, people drowned. In the sense that I drowned all my life in that album, I drowned a lot. Because the onion became pealed, more layers came off... "Timeless" is an amalgamation of eighteen years of lessons, it's my lessons, that album. I can listen to "Timeless" a day, and for me, there will be no better drum&bass album ever. People say: 'Well, yeah, but "SaturnzReturn" is not the same.' But it's not supposed to be, because that's my own personal pain I had to deal with. I couldn't have moved on my life without that "SaturnzReturn".
The thing about the third album is, now I can do the third album because I have so much into the computer: So much stuff, ideas, beautiful ideas, wow, great! I have a great ballad I want to do with Sting, which is brilliant, which I'll have even live for this track, he's gonna sing it live eventually, beautiful ballad! But now it's ready, because the soundtrack will be for "Sine Tempus", it will be for the film. So you will go: Now I can see what he ment! Finally I can see what he ment by this music, the connection. Because the canvasses I paint with music are so deep sometimes, that people can't see them. People don't have the same vision as me, man! Everyone had a lesson, which is why people accept "Timeless". Because everyone has had lessons and everyone has the wonder of it: "What is he trying to do here, it's wonderful! I don't know what it is, but it's energy, it's like a gift, it's like a boy!" And the journey with the regression of the boy with "SaturnzReturn" is going back to find out who I really was... You can't just make a record and go: 'There we go, "Saturn Returnz" - I'm out of the picture.' I tried to get rid of that disease, but it had to happen to me... The irony of it is that Goldie can do a mix album and everyone goes, great! And it's only really in Germany or in New Zealand where people go: 'Goldie, yeah, but we want your album!' German people are passionate about the music that I make, more than a lot of people, believe it or not. It's almost like a tragedy for them: 'Why didn't he make another album? We needed that!' And I need it also, but I had a job to finish.
Wird Dein drittes Album noch einmal ein ähnlich großer Schritt nach vorne sein wie die beiden Vorgänger?
Then again, Germany was one of the only places where they thought they were an innovation. I got killed for "SaturnzReturn"! Crucified! The german people are more art house, they understand a little more about - hey, this is a journey, man, hey! This album is less of a step but more of a statement, because it's like grass roots. (????) I don't have anything more to prove!
Du bist immer sehr persönlich, fast schon autobiographisch an Deine Arbeit rangegangen - wie viel von Dir steckt in einem solchen Mix-Album?
To be quite honest, from a personal point of view: I'm personal in the music I choose, because the music on there is like lots of tiny thoughts and emotions of other people that are part of a bigger picture. I'm just the artist that paints the picture with all of these colours, and the colours are of all these little people that are part of a scene that has been accepted by people like me stepping so far ahead of it. The scene's great, drum&bass in Germany is striving. I'd say it's England, then New Zealand and Germany, and then America - for the love for the music. DJ Storm every weekend goes to Germany. Germany appreciates the mixing. I'm by no means an excentric good DJ, people who are good at djing, good at mixing, are people like Storm and Fabio, they're great DJs! Whereas me, I'm more of an artist, I'm like it's what I choose to mix, I guess. Noone else could pick those kind of records, I get away with it, because I'm Goldie, I pick this records, I like weird.
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