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Novy Svet interviews

- nefolk disse...
- Usuário
- Nov 5 2005, 9h52
Novy Svet interviews

Apart from the rather symbolic interview at their official site there must be only a few of those online...

Here's an extensive one by Achtung Baby!, published at their project site (don't worry, folks, only the introduction is in Russian :)

Source: http://drugie.here.ru/achtung/novysvet.htm

Новый мир (Novy Svet) - парадоксальный проект последней новаторской генерации австрийской сцены. Звуковую и поэтическую ткань своих композиций - от драматических индустриальных шумов, обескровленных речетативов сэмплов и горького похмелья незатейливых деревенских мелодий до светлой аллегории образов и экзотических инструментов - они используют как полотно, где в безудержной бескомпромиссности и творческой раскованности творят новым языком знакомые "рисунки пациента О.Т.", переплетающиеся воединно в непривычном эмоциональном ракурсе и пропорциях. Стартовав несколькими годами раннее с нашумевшей cover-version Beatles "Help!" и записав 4 кассетных альбома, в декабре прошлого года они дебютировали в Вене первым официальным релизом на саб-лэйбле фронтмена The Moon Lay Hidden Beneath A Cloud/Der Blutharsch Albin Julius "Hau Ruck!", получившим странный заголовок "Rumorarmonio". Мы искренне благодарны Novy Svet за любезно предоставленную возможность получить ответы на наши вопросы и их "героическое" терпение ним. Особая благодарность также Marco Deplano за "первую кровь" :-)

How did you get the idea for NS start?

no idea, only beer. one boring afternoon some years ago we took all the instruments which were stored somewhere in the house and started to play. maybe the music or the beer or both were so good that we seriously came to the decision that we were musicians. after lots of practising it ended as fairly conventional (but noisy) rock-project; then there were three people involved. although we began to integrate more and more tape loops and electronic equipment we found a more 'folky' style. this loose group split up and we, the two current members, started to produce more ritual orientated music using only tape decks which led us directly to the decision to use a sampler, later also traditional instruments like zieharmonika etc. that was when NOVY SVET was born an given its name.

If NS is any sort of conceptual art-idea for you, could you tell me about the main principles of it, ideas, specifical moments for your activity with NS?

there's no art-idea at all. the main concept is our youth. being part of a lost generation. since the beginning of the century the longing for 'revolutions' and ideals has become smaller and smaller. today we can't see any will to change anything. maybe our message is: you don't have to behave social in an antisocial society. if you are talking about a musical frame: same answer as above. nothing. of course there are traditions we can't run away from like all styles of european folklore (for example). our attempt is to break this traditions and make them valid for ourselves, make them concrete.

Can you tell me about start of your interest in musical activity, about some influences that had place to be there that time around your concepts and the idea' formation?

novy svethm, as we have told you before it all started more or less by accident. at that time we were influenced by several art theories, art brut, etc. and vienna with its inhabitants and people surrounding us. Albin Julius of DER BLUTHARSCH / THE MOON LAY HIDDEN BENEATH A CLOUD surely was playing an important role. the same goes for some of his friends who visited him here too, for example Lina Baby Doll, the general of DEUTSCH NEPAL / FROZEN FACES. We got to know their uncramped way of working and were encouraged by their activities to work in more 'professional' dimensions. other influences now and then ranged from different musicians and bands like THE VELVET UNDERGROUND or GENESIS P. ORRIDGE , all kinds of folk music, some books, some films, to some visual artists and writers (e.g. RAINER, NITSCH, SCHWARZKOGLER, ARTAUD, JARRY, to mention five of thousands)...as always.

If is there also any relations with ideas of Aldous Huxley works, and first of all, his book "Brave New World" could you comment the words of Futurist artist Carlo Carra: "...painting of sound, noises and smell" as well as Marinetti words from Futurism manifesto: "Moving and light have destroy the materiality of bodies" in connection with NS personal vision?

there's no relation at all to Huxley. nice quotations, especially the sentence taken from the futuristic manifesto by Marinetti. as we said he was an outstanding theorist, very precise and poetic at the same time. everyone has to experience this visions again and again; it's a personal thing. so, that's the wrong question for a collective like NOVY SVET.

What are the ideas and concepts of Futurism nowadays for you, and why Futurism is so important for your inspiration? How did you get your interest for it? What about any parallels between Futurism and folk roots?

to stop all this questions concerning the futurism-thing. NOVY SVET never claimed to be a futuristic band which would be totally daft. but it's a matter of fact that we were highly influenced and fascinated by historical futuristic theories and artists - especially Luigi Russolo - when we started the band and released the first tapes. we regard the art movement of futurism as well as the whole avantgarde movement in the 'hot phase' at the beginning of the century as a kind of 'relation-point' that qualifies all produced art before and after. the european avantgarde of the years 10/20 made everything possible...and at the same moment everything seemed to become impossible. so, we have to keep this 'relation-point' in mind and with the early NOVY SVET recordings we just wanted to offer some personal interpretations and constructions which were built on historical discoveries. but as all these tapes were released in very limited quantities they are not known to most of the today's listeners. maybe 'dobrolet '23' (a song on 'rumorarmonio') is an example for all the works dealing with this topics. this special track is simply about dynamism. we don't need to explain any connection between the historical avantgarde and folklore. there has always been a strong bond: the art of the scientist, the art of the musical/visual genius and the art of the people interlocked. and that's how it should be in the ideal case...it never was like this before and it never will be like this in the future.

What is the idea of futurism in connection with NS activity? As well as I know, futurism is much more Italian-French art-movement, not Austrian, and in idea Futurism had some sort of art-reflection from industrial-economic progress that time. And what's more, in the time of First War (1914-1918) Italian (central root/core of Futurism movement) artists had write their political manifests against Austria. That time futurists have had their exaltation from technical/scientific Dawn, their personal identification with Novy Svet (New World) that time, composition chaos and disharmony of colors, numerous provocative moments in their activity - what do you think about all these things in the connection with NS activity now, as well as about the methods of provocation in art?

we've answered this question before. there've always been darker and brighter moments within the relationships of austria and their neighbours, it's the same for italy. but that has nothing to do with the futuristic idea. we are not interested in embarrassing weirdos like D'Annunzio or peng-peng-dandies like Marinetti. your compatriots were laughing at him when he got out of the plane in moscow. we value some of his theoretical works, but not him as (political) provocateur. provocation is a question of moral which is not to answere.

About the connection between art and ideology - if there any relations also with politic sides of Futurism that time in NS activity?

there's no connection between art and ideology. art is the antithesis of ideology. the rest is propaganda. we have always said that we are not interested in politics at all. we don't want and don't need to be divided up and governed. recommended reading: J. Cage 'pour les oiseaux. entretiens avec D. Charles (paris, 1.976).

What is your interest in Balkans and Slovenian countries, their folk roots and cultures there?

an old proverb in vienna, our hometown, is: 'the balkans start here.' - and that's true. it's the same with slovenia, the czech republic, slovakia and hungary. there are hundreds of years in history we share with the eastern parts of europa; vienna is called 'the door between the west and the east'. since the beginning of the conflict in ex-yugoslavia, the wars in croatia, bosnia and the kosovo our interest in the balkans became deeper: a part of the continent is burning, our brothers are butchered.

Your opinion about the counter crossroad between folk traditions and modern post-industrial society now?

'post-industrialism' as well as 'post-modernism' don't mean anything to us. this words are simply empty shells without any content. what the listener calls folk comes to us naturally. we are the crossroad.

What is the meaning of 'experiment' word for your activity? also I have a special question about samples, language and texts on 'rumorarmonio' (by the way, stupid traditional question, but what is it - rumorarmonio? from 'rumour' word?)

we would not mention the word 'experiment' in connection with NOVY SVET as it's a scientific term which must be reserved for scientific works. we prefer 'improvisation' instead - that's where many of the results we archieve come from. we simply start to play and wait what happens. 50% of the used samples are substitutes for lyrics or support the content of a song. they examine the topic from another point of view. so, there's the possibility of a parallel presentation of a personal approach (through the sung lyrics) and a more distant view (for example through passages from the news). the other half simply comes out of the radio when we put it on and adds some atmosphere to the creations. we love the idea of miles of cables under the ground connecting all the cities and people on the continent. this are the voices of the other cities. concerning the vocals: in most cases we use spanish for the lyrics which makes it more simple for us to transport a message. nobody wants us to be especially profound. we also wrote english and italian, in the future possibly french and even german, lyrics. we'll see. once again: there are no limits. there were people who called our methods 'dada' - not bad, isn't it? the 'rumorarmonio' is a noise intoner, a noise harmonium, invented by russolo. we think our debut also has got some noisy moments...

Also I got an idea that some of the songs on your debut release have their own history, no? What about "hey Moscow" for example? could you told me a short pre-history of it?

new single flyerof course all songs we write have got a very special, in most cases personal, background and a very special story to tell. normally we don't want to have our music dissected, so we never give any information on the motives why a song was composed or the intention we pursue to anybody. we simply want our creations to work like a projection surface which offers space for the imaginations of each particular listener. in the special case of '!e moscu!' we understand your interest as russian. so we make an exception for this time, although i think everything is quite clear when reading the lyrics. in fact the basic idea was to work on electricity, but as each song has its own life this is what came out in the end. the few lines of the text deal with several topics at once (the futuristic ecstasy, energy, electricity, the city and as most of our songs: love and longing) - they have a certain complexity if you think about them, or better don't think about them. the inspiration came from a friend who lived in moscow and brought some 'bits of the city' to vienna.

NS have a many influence from "province chanson" also, what about it?

our songs are 'chansons de la ciudad' (chansons of the city)... loving and living, longing and dying.

Who are NS members, how many persons really, or you and frl. tost only? what about 'divide of the roles' in project there?

from the point of having found our musical way the line-up was fixed. it's me and frl. tost. we collect the sounds surrounding us and chose the ones we use together. i'm responsible for creating the basic tracks and bring ideas to a certain form. when it comes to recording there are no limits, everyone plays the instruments he/she wants to play. so, for example, normally i perform all accordion parts and sampling sequences whilest frl. tost plays the piano. in the end NOVY SVET is an open project - we want to integrate the people we like and who can add an extra dimension to the music. but these guests are not part of the tough centre of the band.

What do you think really about the sense of creation? What man must to create something for?

even if we, like you, often use the word 'creation' thoughtless: we should leave this whole thing up to god...we have and had already to many persons in the world who wanted to create something - we know what came out in most cases...

IGOR VAGANOV vs NOVY SVET
28 February 1999

nefolk

[quote][b][user]nefolk[/user][/b] disse: Apart from the rather [url=http://www.artcraf.it/ARTCRAF/3_INTERVIEW.HTM]symbolic interview[/url] at their official site there must be only a few of those online... Here's an extensive one by [url=http://drugie.here.ru/achtung/]Achtung Baby![/url], published at their project site (don't worry, folks, only the introduction is in Russian :) [b]Source:[/b] [url]http://drugie.here.ru/achtung/novysvet.htm[/url] [quote]Новый мир (Novy Svet) - парадоксальный проект последней новаторской генерации австрийской сцены. Звуковую и поэтическую ткань своих композиций - от драматических индустриальных шумов, обескровленных речетативов сэмплов и горького похмелья незатейливых деревенских мелодий до светлой аллегории образов и экзотических инструментов - они используют как полотно, где в безудержной бескомпромиссности и творческой раскованности творят новым языком знакомые "рисунки пациента О.Т.", переплетающиеся воединно в непривычном эмоциональном ракурсе и пропорциях. Стартовав несколькими годами раннее с нашумевшей cover-version Beatles "Help!" и записав 4 кассетных альбома, в декабре прошлого года они дебютировали в Вене первым официальным релизом на саб-лэйбле фронтмена The Moon Lay Hidden Beneath A Cloud/Der Blutharsch Albin Julius "Hau Ruck!", получившим странный заголовок "Rumorarmonio". Мы искренне благодарны Novy Svet за любезно предоставленную возможность получить ответы на наши вопросы и их "героическое" терпение ним. Особая благодарность также Marco Deplano за "первую кровь" :-) [b]How did you get the idea for NS start?[/b] no idea, only beer. one boring afternoon some years ago we took all the instruments which were stored somewhere in the house and started to play. maybe the music or the beer or both were so good that we seriously came to the decision that we were musicians. after lots of practising it ended as fairly conventional (but noisy) rock-project; then there were three people involved. although we began to integrate more and more tape loops and electronic equipment we found a more 'folky' style. this loose group split up and we, the two current members, started to produce more ritual orientated music using only tape decks which led us directly to the decision to use a sampler, later also traditional instruments like zieharmonika etc. that was when NOVY SVET was born an given its name. [b]If NS is any sort of conceptual art-idea for you, could you tell me about the main principles of it, ideas, specifical moments for your activity with NS?[/b] there's no art-idea at all. the main concept is our youth. being part of a lost generation. since the beginning of the century the longing for 'revolutions' and ideals has become smaller and smaller. today we can't see any will to change anything. maybe our message is: you don't have to behave social in an antisocial society. if you are talking about a musical frame: same answer as above. nothing. of course there are traditions we can't run away from like all styles of european folklore (for example). our attempt is to break this traditions and make them valid for ourselves, make them concrete. [b]Can you tell me about start of your interest in musical activity, about some influences that had place to be there that time around your concepts and the idea' formation?[/b] novy svethm, as we have told you before it all started more or less by accident. at that time we were influenced by several art theories, art brut, etc. and vienna with its inhabitants and people surrounding us. Albin Julius of DER BLUTHARSCH / THE MOON LAY HIDDEN BENEATH A CLOUD surely was playing an important role. the same goes for some of his friends who visited him here too, for example Lina Baby Doll, the general of DEUTSCH NEPAL / FROZEN FACES. We got to know their uncramped way of working and were encouraged by their activities to work in more 'professional' dimensions. other influences now and then ranged from different musicians and bands like THE VELVET UNDERGROUND or GENESIS P. ORRIDGE , all kinds of folk music, some books, some films, to some visual artists and writers (e.g. RAINER, NITSCH, SCHWARZKOGLER, ARTAUD, JARRY, to mention five of thousands)...as always. [b]If is there also any relations with ideas of Aldous Huxley works, and first of all, his book "Brave New World" could you comment the words of Futurist artist Carlo Carra: "...painting of sound, noises and smell" as well as Marinetti words from Futurism manifesto: "Moving and light have destroy the materiality of bodies" in connection with NS personal vision?[/b] there's no relation at all to Huxley. nice quotations, especially the sentence taken from the futuristic manifesto by Marinetti. as we said he was an outstanding theorist, very precise and poetic at the same time. everyone has to experience this visions again and again; it's a personal thing. so, that's the wrong question for a collective like NOVY SVET. [b]What are the ideas and concepts of Futurism nowadays for you, and why Futurism is so important for your inspiration? How did you get your interest for it? What about any parallels between Futurism and folk roots?[/b] to stop all this questions concerning the futurism-thing. NOVY SVET never claimed to be a futuristic band which would be totally daft. but it's a matter of fact that we were highly influenced and fascinated by historical futuristic theories and artists - especially Luigi Russolo - when we started the band and released the first tapes. we regard the art movement of futurism as well as the whole avantgarde movement in the 'hot phase' at the beginning of the century as a kind of 'relation-point' that qualifies all produced art before and after. the european avantgarde of the years 10/20 made everything possible...and at the same moment everything seemed to become impossible. so, we have to keep this 'relation-point' in mind and with the early NOVY SVET recordings we just wanted to offer some personal interpretations and constructions which were built on historical discoveries. but as all these tapes were released in very limited quantities they are not known to most of the today's listeners. maybe 'dobrolet '23' (a song on 'rumorarmonio') is an example for all the works dealing with this topics. this special track is simply about dynamism. we don't need to explain any connection between the historical avantgarde and folklore. there has always been a strong bond: the art of the scientist, the art of the musical/visual genius and the art of the people interlocked. and that's how it should be in the ideal case...it never was like this before and it never will be like this in the future. [b]What is the idea of futurism in connection with NS activity? As well as I know, futurism is much more Italian-French art-movement, not Austrian, and in idea Futurism had some sort of art-reflection from industrial-economic progress that time. And what's more, in the time of First War (1914-1918) Italian (central root/core of Futurism movement) artists had write their political manifests against Austria. That time futurists have had their exaltation from technical/scientific Dawn, their personal identification with Novy Svet (New World) that time, composition chaos and disharmony of colors, numerous provocative moments in their activity - what do you think about all these things in the connection with NS activity now, as well as about the methods of provocation in art?[/b] we've answered this question before. there've always been darker and brighter moments within the relationships of austria and their neighbours, it's the same for italy. but that has nothing to do with the futuristic idea. we are not interested in embarrassing weirdos like D'Annunzio or peng-peng-dandies like Marinetti. your compatriots were laughing at him when he got out of the plane in moscow. we value some of his theoretical works, but not him as (political) provocateur. provocation is a question of moral which is not to answere. [b]About the connection between art and ideology - if there any relations also with politic sides of Futurism that time in NS activity?[/b] there's no connection between art and ideology. art is the antithesis of ideology. the rest is propaganda. we have always said that we are not interested in politics at all. we don't want and don't need to be divided up and governed. recommended reading: J. Cage 'pour les oiseaux. entretiens avec D. Charles (paris, 1.976). [b]What is your interest in Balkans and Slovenian countries, their folk roots and cultures there?[/b] an old proverb in vienna, our hometown, is: 'the balkans start here.' - and that's true. it's the same with slovenia, the czech republic, slovakia and hungary. there are hundreds of years in history we share with the eastern parts of europa; vienna is called 'the door between the west and the east'. since the beginning of the conflict in ex-yugoslavia, the wars in croatia, bosnia and the kosovo our interest in the balkans became deeper: a part of the continent is burning, our brothers are butchered. [b]Your opinion about the counter crossroad between folk traditions and modern post-industrial society now?[/b] 'post-industrialism' as well as 'post-modernism' don't mean anything to us. this words are simply empty shells without any content. what the listener calls folk comes to us naturally. we are the crossroad. [b]What is the meaning of 'experiment' word for your activity? also I have a special question about samples, language and texts on 'rumorarmonio' (by the way, stupid traditional question, but what is it - rumorarmonio? from 'rumour' word?)[/b] we would not mention the word 'experiment' in connection with NOVY SVET as it's a scientific term which must be reserved for scientific works. we prefer 'improvisation' instead - that's where many of the results we archieve come from. we simply start to play and wait what happens. 50% of the used samples are substitutes for lyrics or support the content of a song. they examine the topic from another point of view. so, there's the possibility of a parallel presentation of a personal approach (through the sung lyrics) and a more distant view (for example through passages from the news). the other half simply comes out of the radio when we put it on and adds some atmosphere to the creations. we love the idea of miles of cables under the ground connecting all the cities and people on the continent. this are the voices of the other cities. concerning the vocals: in most cases we use spanish for the lyrics which makes it more simple for us to transport a message. nobody wants us to be especially profound. we also wrote english and italian, in the future possibly french and even german, lyrics. we'll see. once again: there are no limits. there were people who called our methods 'dada' - not bad, isn't it? the 'rumorarmonio' is a noise intoner, a noise harmonium, invented by russolo. we think our debut also has got some noisy moments... [b]Also I got an idea that some of the songs on your debut release have their own history, no? What about "hey Moscow" for example? could you told me a short pre-history of it?[/b] new single flyerof course all songs we write have got a very special, in most cases personal, background and a very special story to tell. normally we don't want to have our music dissected, so we never give any information on the motives why a song was composed or the intention we pursue to anybody. we simply want our creations to work like a projection surface which offers space for the imaginations of each particular listener. in the special case of '!e moscu!' we understand your interest as russian. so we make an exception for this time, although i think everything is quite clear when reading the lyrics. in fact the basic idea was to work on electricity, but as each song has its own life this is what came out in the end. the few lines of the text deal with several topics at once (the futuristic ecstasy, energy, electricity, the city and as most of our songs: love and longing) - they have a certain complexity if you think about them, or better don't think about them. the inspiration came from a friend who lived in moscow and brought some 'bits of the city' to vienna. [b]NS have a many influence from "province chanson" also, what about it?[/b] our songs are 'chansons de la ciudad' (chansons of the city)... loving and living, longing and dying. [b]Who are NS members, how many persons really, or you and frl. tost only? what about 'divide of the roles' in project there?[/b] from the point of having found our musical way the line-up was fixed. it's me and frl. tost. we collect the sounds surrounding us and chose the ones we use together. i'm responsible for creating the basic tracks and bring ideas to a certain form. when it comes to recording there are no limits, everyone plays the instruments he/she wants to play. so, for example, normally i perform all accordion parts and sampling sequences whilest frl. tost plays the piano. in the end NOVY SVET is an open project - we want to integrate the people we like and who can add an extra dimension to the music. but these guests are not part of the tough centre of the band. [b]What do you think really about the sense of creation? What man must to create something for?[/b] even if we, like you, often use the word 'creation' thoughtless: we should leave this whole thing up to god...we have and had already to many persons in the world who wanted to create something - we know what came out in most cases... [b]IGOR VAGANOV vs NOVY SVET[/b] 28 February 1999[/quote][quote]

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- Ixtlan disse...
- Usuário
- Nov 5 2005, 10h05
Runes and Men innerview

Ok, here's one in Italian:
http://www.runesandmen.com/Concerts/Novy%20Svet/Novy%20Svet%20Interview.htm

And its English version here:
http://www.runesandmen.com/Concerts/Novy%20Svet/Novy%20Svet%20Intervieweng.htm

NOVY SVET
NOI E IL MONDO: FACCIA A FACCIA CON NOVY SVET

A great pleasure is introduce a very special friend for Runes and Men and a very "divisionist genius " of European Music to all Italian audience. We were delighted of a short gig in Rome , supporting Mushroom's Patience. Only three songs from "Chappaqua'�", but really full of energy and strong feelings. A special contribute to the friend of ever : Raffaele Cerroni, and to the surrealistic "Roma,Wien" by Mushroom's Patience. At last of this interview we'll ask to many Jurgen's friends what they think about Novy Svet project and about Jurgen himself. Ah! Pay attention to you words , dear Jurgen!

Vinzinjune

R&M) Salut! Jurgen!!! Could you describe the meaning of your first work "Rumorarmonio"? The choice and the play on words about the same title?

Well, this was already a long time ago and now after all these things happening in our career i can simply not recall how i felt when 'rumorarmonio' was recorded respectively released. in fact all those songs that could later be found on this vinyl disc originally had not been intended for release.. we had recorded them for ourselves and just put them on cassettes with hand-made covers. we passed this tapes on to friends and suddenly one of them - you guess right, Albin - got to the opinion that there exists the necessity to release our music. for us his offer to produce an album with those demo-tracks (it was not more than that) was just amazing and quite a shock. in these days Albin just started his label Hau Ruck! and after a short while we had 'rumorarmonio' in our hands. i guess we were happy then - especially when we noticed that it was received very well out there.
The title came from my personal interest in futurism at that time. i was especially obsessed by a short period around 1920 when (especially in Russia) traditional folk-roots and the most developed technical methods mixed. i loved the idea of a huge ballyhoo of religion, noise, machines, folklore - this was what 'rumorarmonio' was all about and the title was just fitting (of course with Russolo in the back of my mind). I still believe that our debut is a superb mix of nostalgia and the futuristic idea…i like to believe that.

R&M) In "Rumorarmonio" is possible to find many anticipation of "Cuori di petrolio" and "Chappaqua'�". Two different style, of course. The first is atmospheric and experimental , the second more melodic , romantic (how much...) and with wonderfull acoustic movements.
At last "Rumorarmonio" seems a perfect summary or anticipation of the followers release! Really Strange!

Hmm, one could see it like that but i personally do not agree. of course all the records you have named are our 'babies' and so it is obvious that there just have to be certain similarities. also the more traditional folk-approach of 'faccia a faccia' was already evident on 'rumorarmonio', just think of songs like 'alin' or 'mutzika'. i think that 'chappaqua' was a large step away from the direction we had taken in our first four years.. but it is up to the listener to get to his/her own impressions and to find interpretations.

R&M) Could you explain the use of many and different languagges, specially Esperanto?
It's only an artistic choice or a really interest into these?

I am often asked about the choice of languages and I can really not find a satisfying reply to that question. i can only repeat that each song seems to 'ask' for a certain language and that there is nothing like a rational process when i write down the lyrics it just happens in what language ever.
Esperanto as such is an interesting idea but it is kind of a scientific tongue that never found a place within any culture. i think it is just an inappropriate mix of too different cultural backgrounds. With novy svet we very rarely used esperanto but more often a personalized version of esperanto where we just mixed together italian, spanish, english, etc, etc.. it is funny to see how many people truly understand although the sense of the words is hidden behind a code which only i can decipher

R&M) Why you dedicate "Chappaqua'�" to Pasolini?

This just came from my admiration for him. his work had a very strong impression on me and i guess it influenced the picture i had/have of myself in a certain way. Through Pasolini I learned to understand myself a little bit better and i also stopped to think that something is wrong with me - finally I got all the arguments that i needed to make clear that it is the others that are taking the wrong way, not me.

R&M) When you met Raffaele Cerroni ? and how is born this friendship and this artistic agreement?

I met Raffaele some years ago when he was visiting vienna. but in fact i already knew him at that time as I knew his music and his music is 100% him. One day ClauD.E.D.I., with whom i had been in contact for some time, sent me a CD called 'L'ultimo bagno del primate' by a group called Mushroom's Patience. I never heard of them but ClauD.E.D.I. assured me that i would love it so, frl. tost and me sat down to have a listen and this took two weeks in the end. This album did not leave my cd-player and it is still one of those records i would not give away for much money.
how we met: well, Raffaele and me got in touch and started to write letters and send us music. one night when i was dj-ing at La Notte Hau Ruck! (a weekly event at that time) a strange man entered the room and asked for me - this was Raffaele and from this evening on we met many times and got real friends. friendship is a big word but in this case it is appropriate. I have made the experience that it is usually a big disappointment to finally meet a person of who you have a real good impression but in Raffaele's case my admiration for him and for what he does is always growing.

R&M) Tell me something more about your last work "Venezia". Are you bewitched by the beauty and magic of this city?

"Venezia" is not our latest work - it was just released this year but finalized a long time ago. it was planned to be the follow-up to 'Cuori Di Petrolio' and initially we started to record it together with Allerseelen. at a certain point there occurred heavy personal difficulties between Allerseelen and us - we then finished the album and mixed it down just to put it deep inside of a cupboard to never see it again. I thought that i could get the album out of my mind with just locking it away but the rumour about its existence spread and people were asking for it. so, the existence of this album and of this time which i rather had wished to erase from my memory was always evident and finally frl. tost and me decided together that it was better to release the album and give the public a chance to listen to it. it is only a small edition but for me it worked: it is erased now.
Generally speaking i have to say that i like very much the city of venezia and we spend at least one week there each year. for me it is just good to be in a place that is slowly swallowed by the water of the sea.. also i enjoy to visit the big exhibitions there and to inhale the cultural climate that perfectly unites an austro-italian past and a kind of slowliness.. it is so many little things that make this city so beautiful for me; too many to name them all. the best thing is that there are no cars at all.

R&M) Why you release a collection of songs, through Achtung baby , from all your works? Do yuo think it was necessary?

It was necessary for the russian market as european CDs are only available as imports there and nobody with a normal income can buy the stuff. Achtung Baby! just offered us to introduce our music to a larger audience and to give to every one is interested the chance to get into our little cosmos without having to spend too much money or to buy a lousy bootleg. in the end we decided not only to compile some of the songs which we regard as our best or rarities from vinyl, but to put also some unreleased or re-recorded material on it. as far as i am informed there are also many copies sold to western Europe and also the fans here have the possibility to listen to these tracks. there is no need to buy this at eBay - you have been warned! for novy svet this is a very important release as it gives us the opportunity to help Achtung Baby! financially and i like to see it as an evidence for my respect for what Igor Vaganov is doing. people tend to say that it is impossible to trust the russians and that they are chaotic or whatever - they are just unable to see how difficult the situation over there is. in russia there is nothing like 'security' or 'democracy' - you are not allowed to open your mouth. for novy svet it is important to let our fans in western europe and america know that out there are some people who really take a risk and whose only threat is not only to lose some fucking dollars or to be attacked by a 15 year old punk.

R&M) When you release the new album and what we'll expect from this?

In november there will be a new vinyl-album called 'nuevo babylon' which is the consequence that had to be taken after 'Chappaqua' - i would say that it is the most aggressive but also most experimental recording of novy svet until today. in some way it is our most 'political' record so far and there is an obvious influence of punk-rock on it. 'nuevo baylon' will be part of a box with four LPs which will be released in an edition of only 100 copies through our label NEKOFUTSCHATA.
Right now we are already recording the next album for 2.003. this will be called 'fin.finito.infinito' and might be our last one - well, you never know. at least we record it now with the consciousness of being gone afterwards. this should be a CD on Hau Ruck! and it will include a variety of different songs - no concept this time.we are sick of this after our three latest records all had that red line going through them which we were forced to follow. i am sure that 'fin.finito.infinito' will be kind of a manifesto of novy svet and that our fans will love it.

R&M) What plans for your label NEKOFUTSCHATA?

J&W) There will be NOI E IL MONDO, the box with 12"-fulltime-albums by GRUPPO FOLK URBANO SPERIMENTALE DIVISIONISTA, CIRCUS JOY, DER BEKANNTE POST- INDUSTRIELLE TROMPETER and NOVY SVET, in november. this is a huge project and takes all my time right now. afterwards we might release a vinyl with lo-fi-ballads from my bedroom (as cat.no. 10) and i have a bunch of other projects in the back of my mind. after 'fin.finito.infinito' has been released i will heavily concentrate on NEKOFUTSCHATA and try to make some of my wildest musickal dreams come true. You'll see!

R&M) Send a message to all italian fans.

J&W) With Novy Svet we have always tried to keep the message as abstract as possible - there is no need to tell the people what to do and what not to do. indeed i do not see something like a collective of fans buying our records. it is only a mass of individuals and each and everyone is different. some are clever, others not some are beautiful others not….i am not the right one to tell anybody what to do - i am happy that i found my way and i can only thank everybody for supporting us and our work. for Italia i can only say that it is time to wake up before it is too late - right now you are on the wrong road.

Vinzinjune

Ixtlan Industries

[quote][b][user]Ixtlan[/user][/b] disse: Ok, here's one in Italian: [url]http://www.runesandmen.com/Concerts/Novy%20Svet/Novy%20Svet%20Interview.htm[/url] And its English version here: [url]http://www.runesandmen.com/Concerts/Novy%20Svet/Novy%20Svet%20Intervieweng.htm[/url] [quote][b]NOVY SVET NOI E IL MONDO: FACCIA A FACCIA CON NOVY SVET[/b] A great pleasure is introduce a very special friend for Runes and Men and a very "divisionist genius " of European Music to all Italian audience. We were delighted of a short gig in Rome , supporting Mushroom's Patience. Only three songs from "Chappaqua'�", but really full of energy and strong feelings. A special contribute to the friend of ever : Raffaele Cerroni, and to the surrealistic "Roma,Wien" by Mushroom's Patience. At last of this interview we'll ask to many Jurgen's friends what they think about Novy Svet project and about Jurgen himself. Ah! Pay attention to you words , dear Jurgen! Vinzinjune [img]http://www.runesandmen.com/Concerts/Novy%20Svet/4.jpg[/img] [b]R&M) Salut! Jurgen!!! Could you describe the meaning of your first work "Rumorarmonio"? The choice and the play on words about the same title?[/b] Well, this was already a long time ago and now after all these things happening in our career i can simply not recall how i felt when 'rumorarmonio' was recorded respectively released. in fact all those songs that could later be found on this vinyl disc originally had not been intended for release.. we had recorded them for ourselves and just put them on cassettes with hand-made covers. we passed this tapes on to friends and suddenly one of them - you guess right, Albin - got to the opinion that there exists the necessity to release our music. for us his offer to produce an album with those demo-tracks (it was not more than that) was just amazing and quite a shock. in these days Albin just started his label Hau Ruck! and after a short while we had 'rumorarmonio' in our hands. i guess we were happy then - especially when we noticed that it was received very well out there. The title came from my personal interest in futurism at that time. i was especially obsessed by a short period around 1920 when (especially in Russia) traditional folk-roots and the most developed technical methods mixed. i loved the idea of a huge ballyhoo of religion, noise, machines, folklore - this was what 'rumorarmonio' was all about and the title was just fitting (of course with Russolo in the back of my mind). I still believe that our debut is a superb mix of nostalgia and the futuristic idea…i like to believe that. [b]R&M) In "Rumorarmonio" is possible to find many anticipation of "Cuori di petrolio" and "Chappaqua'�". Two different style, of course. The first is atmospheric and experimental , the second more melodic , romantic (how much...) and with wonderfull acoustic movements. At last "Rumorarmonio" seems a perfect summary or anticipation of the followers release! Really Strange![/b] Hmm, one could see it like that but i personally do not agree. of course all the records you have named are our 'babies' and so it is obvious that there just have to be certain similarities. also the more traditional folk-approach of 'faccia a faccia' was already evident on 'rumorarmonio', just think of songs like 'alin' or 'mutzika'. i think that 'chappaqua' was a large step away from the direction we had taken in our first four years.. but it is up to the listener to get to his/her own impressions and to find interpretations. [b]R&M) Could you explain the use of many and different languagges, specially Esperanto? It's only an artistic choice or a really interest into these?[/b] I am often asked about the choice of languages and I can really not find a satisfying reply to that question. i can only repeat that each song seems to 'ask' for a certain language and that there is nothing like a rational process when i write down the lyrics it just happens in what language ever. Esperanto as such is an interesting idea but it is kind of a scientific tongue that never found a place within any culture. i think it is just an inappropriate mix of too different cultural backgrounds. With novy svet we very rarely used esperanto but more often a personalized version of esperanto where we just mixed together italian, spanish, english, etc, etc.. it is funny to see how many people truly understand although the sense of the words is hidden behind a code which only i can decipher [b]R&M) Why you dedicate "Chappaqua'�" to Pasolini?[/b] This just came from my admiration for him. his work had a very strong impression on me and i guess it influenced the picture i had/have of myself in a certain way. Through Pasolini I learned to understand myself a little bit better and i also stopped to think that something is wrong with me - finally I got all the arguments that i needed to make clear that it is the others that are taking the wrong way, not me. [b]R&M) When you met Raffaele Cerroni ? and how is born this friendship and this artistic agreement?[/b] I met Raffaele some years ago when he was visiting vienna. but in fact i already knew him at that time as I knew his music and his music is 100% him. One day ClauD.E.D.I., with whom i had been in contact for some time, sent me a CD called 'L'ultimo bagno del primate' by a group called Mushroom's Patience. I never heard of them but ClauD.E.D.I. assured me that i would love it so, frl. tost and me sat down to have a listen and this took two weeks in the end. This album did not leave my cd-player and it is still one of those records i would not give away for much money. how we met: well, Raffaele and me got in touch and started to write letters and send us music. one night when i was dj-ing at La Notte Hau Ruck! (a weekly event at that time) a strange man entered the room and asked for me - this was Raffaele and from this evening on we met many times and got real friends. friendship is a big word but in this case it is appropriate. I have made the experience that it is usually a big disappointment to finally meet a person of who you have a real good impression but in Raffaele's case my admiration for him and for what he does is always growing. [b]R&M) Tell me something more about your last work "Venezia". Are you bewitched by the beauty and magic of this city?[/b] "Venezia" is not our latest work - it was just released this year but finalized a long time ago. it was planned to be the follow-up to 'Cuori Di Petrolio' and initially we started to record it together with Allerseelen. at a certain point there occurred heavy personal difficulties between Allerseelen and us - we then finished the album and mixed it down just to put it deep inside of a cupboard to never see it again. I thought that i could get the album out of my mind with just locking it away but the rumour about its existence spread and people were asking for it. so, the existence of this album and of this time which i rather had wished to erase from my memory was always evident and finally frl. tost and me decided together that it was better to release the album and give the public a chance to listen to it. it is only a small edition but for me it worked: it is erased now. Generally speaking i have to say that i like very much the city of venezia and we spend at least one week there each year. for me it is just good to be in a place that is slowly swallowed by the water of the sea.. also i enjoy to visit the big exhibitions there and to inhale the cultural climate that perfectly unites an austro-italian past and a kind of slowliness.. it is so many little things that make this city so beautiful for me; too many to name them all. the best thing is that there are no cars at all. [b]R&M) Why you release a collection of songs, through Achtung baby , from all your works? Do yuo think it was necessary?[/b] It was necessary for the russian market as european CDs are only available as imports there and nobody with a normal income can buy the stuff. Achtung Baby! just offered us to introduce our music to a larger audience and to give to every one is interested the chance to get into our little cosmos without having to spend too much money or to buy a lousy bootleg. in the end we decided not only to compile some of the songs which we regard as our best or rarities from vinyl, but to put also some unreleased or re-recorded material on it. as far as i am informed there are also many copies sold to western Europe and also the fans here have the possibility to listen to these tracks. there is no need to buy this at eBay - you have been warned! for novy svet this is a very important release as it gives us the opportunity to help Achtung Baby! financially and i like to see it as an evidence for my respect for what Igor Vaganov is doing. people tend to say that it is impossible to trust the russians and that they are chaotic or whatever - they are just unable to see how difficult the situation over there is. in russia there is nothing like 'security' or 'democracy' - you are not allowed to open your mouth. for novy svet it is important to let our fans in western europe and america know that out there are some people who really take a risk and whose only threat is not only to lose some fucking dollars or to be attacked by a 15 year old punk. [b][b]R&M) When you release the new album and what we'll expect from this?[/b][/b] In november there will be a new vinyl-album called 'nuevo babylon' which is the consequence that had to be taken after 'Chappaqua' - i would say that it is the most aggressive but also most experimental recording of novy svet until today. in some way it is our most 'political' record so far and there is an obvious influence of punk-rock on it. 'nuevo baylon' will be part of a box with four LPs which will be released in an edition of only 100 copies through our label NEKOFUTSCHATA. Right now we are already recording the next album for 2.003. this will be called 'fin.finito.infinito' and might be our last one - well, you never know. at least we record it now with the consciousness of being gone afterwards. this should be a CD on Hau Ruck! and it will include a variety of different songs - no concept this time.we are sick of this after our three latest records all had that red line going through them which we were forced to follow. i am sure that 'fin.finito.infinito' will be kind of a manifesto of novy svet and that our fans will love it. [b]R&M) What plans for your label NEKOFUTSCHATA?[/b] J&W) There will be NOI E IL MONDO, the box with 12"-fulltime-albums by GRUPPO FOLK URBANO SPERIMENTALE DIVISIONISTA, CIRCUS JOY, DER BEKANNTE POST- INDUSTRIELLE TROMPETER and NOVY SVET, in november. this is a huge project and takes all my time right now. afterwards we might release a vinyl with lo-fi-ballads from my bedroom (as cat.no. 10) and i have a bunch of other projects in the back of my mind. after 'fin.finito.infinito' has been released i will heavily concentrate on NEKOFUTSCHATA and try to make some of my wildest musickal dreams come true. You'll see! [b]R&M) Send a message to all italian fans.[/b] J&W) With Novy Svet we have always tried to keep the message as abstract as possible - there is no need to tell the people what to do and what not to do. indeed i do not see something like a collective of fans buying our records. it is only a mass of individuals and each and everyone is different. some are clever, others not some are beautiful others not….i am not the right one to tell anybody what to do - i am happy that i found my way and i can only thank everybody for supporting us and our work. for Italia i can only say that it is time to wake up before it is too late - right now you are on the wrong road. [b]Vinzinjune[/b] [/quote][quote]

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- nefolk disse...
- Usuário
- Mar 6 2006, 8h31
Interviews at novysvet.industrialmusic.ru

As if by now you shouldn't have known, there are 9 innerviews at novysvet.industrialmusic.ru. Because some might be confused by that scary Cyrillic type, I will relink them from here:

Interview to the Italian journal Runes and Men (english)
Interview to the Belarussian journal Stigmata (english)
Interview to the Russian journal Achtung Baby! (english)
Interview to the German journal Equinoxe (german)
Interview to the German journal Black (german, english)
Interview to the Italian journal Raunend (italian)
Interview in Vienna (english)
Interview to the Belgian journal Surreal Sound (english)
Interview to the Italian journal eXoteric (english)

nefolk

[quote][b][user]nefolk[/user][/b] disse: As if by now you shouldn't have known, there are 9 innerviews at [url=http://novysvet.industrialmusic.ru/interview]novysvet.industrialmusic.ru[/url]. Because some might be confused by that scary Cyrillic type, I will relink them from here: [url=http://novysvet.industrialmusic.ru/interview/runes_and_men]Interview to the Italian journal Runes and Men[/url] (english) [url=http://novysvet.industrialmusic.ru/interview/stigmata]Interview to the Belarussian journal Stigmata[/url] (english) [url=http://novysvet.industrialmusic.ru/interview/ab]Interview to the Russian journal Achtung Baby![/url] (english) [url=http://novysvet.industrialmusic.ru/interview/equinoxe]Interview to the German journal Equinoxe[/url] (german) [url=http://novysvet.industrialmusic.ru/interview/black]Interview to the German journal Black[/url] (german, english) [url=http://novysvet.industrialmusic.ru/interview/raunend]Interview to the Italian journal Raunend[/url] (italian) [url=http://novysvet.industrialmusic.ru/interview/wien]Interview in Vienna[/url] (english) [url=http://novysvet.industrialmusic.ru/interview/ss]Interview to the Belgian journal Surreal Sound[/url] (english) [url=http://novysvet.industrialmusic.ru/interview/exoteric]Interview to the Italian journal eXoteric[/url] (english)[quote]

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- [Usuário excluído] disse...
- Usuário
- Mar 18 2007, 22h13
There is also an interview with Jürgen Weber on croatian webzine ususur.org, in English and it you can find it clicking on the picture of dog ;)

[quote][b][user][/user][/b] disse: There is also an interview with Jürgen Weber on croatian webzine [url=http://ususur.org]ususur.org[/url], in English and it you can find it clicking on the picture of dog ;)[quote]

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- nefolk disse...
- Usuário
- Abr 6 2007, 22h44
ampouleandario said:
There is also an interview with Jürgen Weber on croatian webzine ususur.org, in English and it you can find it clicking on the picture of dog ;)
Thanks for the innerview. Very informative! Will look forward to leeching that new Unidad Sasao sometime eheh

NOVÝ SVĚT will exist for ten years only. We started in 1997, so next year will see the last recordings of this group. It is likely that more material will be published afterwards, but this will be taken from our archives and I am looking forward to an end already. I decided to end NOVÝ SVĚT some years ago when I had a clear vision of the missing steps to take. Besides that I love 'dead' groups....still it is not sure if we will split-up officially or if we will just put things to a rest. There is always the possibility that we will have something to say any day.
!!!

Exciting, in fact

Dead bands live forever

:F

nefolk

[quote][b][user]nefolk[/user][/b] disse: [quote][b][user]ampouleandario[/user][/b] said: There is also an interview with Jürgen Weber on croatian webzine [url=http://ususur.org]ususur.org[/url], in English and it you can find it clicking on the picture of dog ;)[/quote] Thanks for the innerview. Very informative! Will look forward to leeching that new [artist]Unidad Sasao[/artist] sometime eheh [quote] NOVÝ SVĚT will exist for ten years only. We started in 1997, so next year will see the last recordings of this group. It is likely that more material will be published afterwards, but this will be taken from our archives and I am looking forward to an end already. I decided to end NOVÝ SVĚT some years ago when I had a clear vision of the missing steps to take. Besides that I love 'dead' groups....still it is not sure if we will split-up officially or if we will just put things to a rest. There is always the possibility that we will have something to say any day.[/quote] !!! Exciting, in fact Dead bands live forever :F[quote]

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- [Usuário excluído] disse...
- Usuário
- Abr 7 2007, 14h15
And so does Jürgen :D "already dead"...haha

[quote][b][user][/user][/b] disse: And so does Jürgen :D "already dead"...haha[quote]

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Novy Svet interviews

Novy Svet interviews

Runes and Men innerview

Interviews at novysvet.industrialmusic.ru