Access:
Seb, welcome to Access Spotlights
Seb: Well, thanx. I'm honoured to be here.
Access:
When did you get your start making music?
Seb: Phew, let me think for a second here now. It all started for
me back in 1989, when I got my first synthesizer( Roland
SH-09) and a 4-track tape recorder. Back then I listened
to bands like Depeche Mode and Kraftwerk. That was
my driving force to start making music. I wanted to make
songs with synths and drum machines. After a while I got
my hands on an Atari 1040, and was introduced to the world
of midi (revelation). Around that time I released two demo
tapes of my first band MELT. Two tracks got on the Norwegian
Compilation Psychoactivated phase I and II. That was my first
ever official releases. After that I got more gear. Got the
Korg Polysix, and Roland JX-8P. But I remember always being
annoyed by the fact I couldn't get those awesome sounds I
heard on the cd's I listened to.
I spent hours and days to try make the sounds I wanted.. never satisfied.
Then I started to listen to harsher sounding electronic music,
like Front 242, but it was when I got introduced to the Canadian
band Frontline Assembly that I really understood what I wanted
to create. That band amazed me. Especially their Tactical
Neural Implant album. Which is still their best album if
you ask me. So I kept on working with music, played some
gigs with Melt. This is around 1994. Then I got my first "studio",
located in Fredrikstad, Norway (also being called Electronicstad
these days). I then started on this techno project, as I
started to listen to more club oriented music, not only underground
EBM. I remember when I heard of Prodigy, I was amazed by
their sound and power in their songs. I also got into Leftfield.
Jean-Michel Jarre was also a big inspiration for me. I loved,
and still do, his dreamy electronic soundscapes. I remember
calling him Mozart of the 20th century.
So as I made new tracks for the techno project, then called Sector9.
During this time I got more gear and started to realize that
music was my life. I then decided that music is what I wanted
to do.
Then I met Andy (the vocalist in Icon Of Coil). We started working
together on Sector9. We got our gear together and got a better
set-up to play with. We got a demo going with Sector 9, and
sent it around to labels, and amazingly we got a call from
Virgin in Norway just a week after sending the demos. We
were like; oh my god, this might be the break. The
guy from Virgin came to our studio and listened to our stuff.
And he asked if we were interested in remixing Lene Marlin's
single Sitting Down Here. To commercial for our taste but,
we went for it, but it never got used. Listening to it now.
I know why. No good.
Well, then Icon Of Coil got started, as Andy played around with
some EBM tracks, we got a deal with the Norwegian label Tatra
Records, and Released the single Shallow Nation, which sold
around a 1000 in a couple of weeks. That was good for to
be a debut single in that scene. By this time my recording
and programming was introduced to the world of pc and Cubase
3.7. Not to mention the world of audio editing. I was overwhelmed
over the possibilities. I went crazy, adding fx, pads, moods.
After that an EP was released, called One Nation Under Beat.
That's when I got my hands on the Access Virus Kb. I remember
switching it on for the first time, and hit the keys, playing
with the first preset on the Kb, a phasing pad preset. I
was like; Oh my god!! Then came the first IOC full length "Serenity
Is The Devil".
Access:
Was there a point in your life that you said to yourself "This
is what I want to do?"
Seb:Oh yeah. Around 1994 I had this like "moment of clarity".
I just realized that music was my purpose in life. I loved
listening to music, everywhere and anytime. And after making
music for a couple of years I fell deeper and deeper into
the world of sounds and frequencies. I live and breathe music
24/7. I personally feel it's the way it needs to be. To be
able to evolve as a musician and producer. And to keep oneself
updated on new in the hardware/software world. There are
things happening every week. New synths, new software .etc.hard
to keep up.
Music was a hobby of mine in the beginning while I went to school,
but very soon it became my obsession. And I express my thoughts
and feelings through music. It's good therapy sometimes as
well. Just to sit and play around with sounds for hours,
and that's when some great ideas come to life. And it was
a personal goal/aim for me to be, able to make a living out
of the music. Of course, due to the intense increase in mp3's
and free online download programs, such as Kazaa, the music
business is in danger these days. I don't think users of
such online features are aware of the major impact it has
on the whole industry. The all around % level of sales has
decreased in around 20/25% the last years, due to mp3 downloads.
That is frightening. The best selling EBM/Goth/Future-pop
Compilation in Europe this year has sold around 6000 Copies,
in 1992 a similar compilation sold 38000 copies. And all
bands have noticed a frightening decrease in the sales, even
the biggest and most popular ones. So there is a big discussion
out there now. What to do with the situation. The whole thing
goes around in circles really; The fans complain about the
live shows, the quality of the music, the sound etc.sometimes
it comes back to the fact that a bands stage performance,
regarding sound and light, venues etc. It is all dependent
on the sales. The bands main object is to make the best possible
music. But the problem starts when even the best music is
made and still doesn't sell.where is the problem? Of course
promotion and distribution has a big part in it, there it
also comes back to the sales. Low sales: labels and distributors
won't afford enough promotion.
Of course the "good" thing about mp3's is the reduction
in file size. I send loads of mp3,s to Andy (the vocalist
in IOC) with new ideas and such. And to labels, to keep them
updated on our latest work. It's also good for our
web pages to have short part on our songs online for new
listeners to experience our music.
But either way, No matter what happens in the music industry, I
will always make music, one way or another. It is a part
of my soul.
Access:
What artists do you think have influenced your music?
Seb: There are lots. In the earlier days (1990/94) I listened a
lot to Depeche Mode, Kraftwerk, Jean-Michel Jarre, Front
242, Nitzer Ebb and Frontline Assembly. They are the so-called
pioneers and "heroes", in the world of electronic
music. Recently I got more into the techno/club oriented
stuff like: Underworld (my favourite band these days), Orb,
Leftfield, Hardfloor (amazing grooves), Timo Maas, Orbital,
Man With No Name, Koxbox, Saiko Pod, Fear Factory and Ministry.
And I've also been listening a lot to Bj¿rk recently. Really
cool stuff, and well produced. And of course Johnny Cash.
Fun to listen to.
Access:
How did Icon of Coil get its start?
Seb: Icon Of coil was born in 1997, while me and Andy worked on
Sector9, the techno project, Andy played around with some
ideas for Icon Of Coil, and we got a deal with Tatra Records
in Norway. That's basically how it started. Then we released
out first ever single. Shallow Nation.
Access:
Your first single "Shallow Nation" sold a thousand
copies in 2 weeks, what was your first reaction to this
massive reception?
Seb: First we didn't know what to think, as we didn't really know
how things worked back then. But soon we got told by people
in the business that it was quite good to be a debut release.
So we instantly went to the studio to started working on
the next release, the One Nation Under Beat EP.
Then we got some major studio update. We got a good microphone,
a proper pc, and of course the master in the studio; the
Virus. We called the virus for Beatrice. As it was very sexy,
and if we twiddled the right knobs, it made the most amazing
sounds. It was and still is the master keyboard in the studio.
Access:
One thing I absolutely HAVE to ask you : What CD to you
have in your CD player right now?
Seb: Today I listened to Koxbox, their " The Great Unknown" album.
A must have for anyone into groovey, experimental electronic
music. These guys know they're way around knobs. It is amazing
some of the stuff on the album. Something is happening all
the time. All these killer sounds just come and goes. Very
well produced. I just sit and listen to it and almost faint
of some of the things they do sonically. Saiko-Pod is also
a lot in the CD player recently. That's a side project from
the Koxbox guys. Other than that I listen to a lot of Underworld
and Plastic Man these days,
Access:
All of your projects, and your remixes have a very noticeable
and interesting mixture of themes and phrasings from techno,
then hardcore trance, to straight EBM/IDM, even to goth
: do you think the future of electronic music will involve
this kind of style and culture "sampling"?
Seb: Well, I think my style, and my way of programming/producing
is a mixture of some of the bands/musicians I've always admired.
I can say I've learned a lot by listening to my "heroes".
I've always analysed songs that got my attention. I listened
to sounds, grooves, chords, etc. And I think by not having
so much equipment in the beginning I learned things the "hard" way. And
that probably made me who I am sonically. Now I can use those
years with one synth and a 4-tracker as a good experience.
That's how I learned my way around lfo's, adsr's, modulation,
detuning oscillators etc.if one don't have too much to play
with, one will master the instruments one have. That is my
opinion.
But regarding Culture sampling, well, I think the electronic music
market is in a weird time.
First of all, sound wise, it's very rarely one new sounds. I mean
sounds that make you go; how did they do that. Because of
the ever expanding hardware, and software marked, sounds
that were hard to come by, is now easy accessible. By owning
a pc and the right type of software one can make music that
would make Kraftwerk go jealous in their studio a few years
back. These days every style is being blended with one another.
Some mixes are good and some sound terrible. And it's hard
to create a track without anyone going; oh this sounds like..Etc.
I feel it's all becoming to "easy" in one way. Don't get
me wrong, it also helps new great artist being born. I just
feel the whole process is turning to a different direction.
I'm a hardware guy; don't like being dependent on software
too much. As I feel very strong about hardware is sounding
better than software. I've tried numerous times to convince
myself.but the hardware always wins. I use software for my
drums (NI Battery) And I program and produce my tracks in
Cubase 5.0.
But I think people need to keep on experimenting.go places where
on one has gone before.it is still possible. Even though
loads of things have been tried, the sonic universe is huge.I'm
sure there are still planets to explore. I am personally
hoping to find a new path.. like something new.
Access: You have remixed many artists such as Funkervogt and Mesh
to name a few - Do you find yourself expressing yourself
differently as a remix artist as opposed to a songwriter?
Seb: Absolutely. Though being asked to remix means the band wants
your sound on the remix. But I usually work very freely when
remixing. I probably do things in remixes that I would do
in an own track. I sometimes actually think, during a remix;
damn.. I should have done something like this in a track.
It's totally different to get an already finished track to
work with. The bone structure is there already, one
only have to mutate the rest. I usually start by listening
to the original track, to get the vibe of the song. Already
then I go; hmm that's sound is cool, will use that. Oh.will
loop that part, will use this groove but a different sound.etc.
Then I get a right in yer face basedrum and a baseline going
to get some grooves pounding.then usually adding the vocals..
and start building up the remix. My remixes are mostly dancefloor
oriented, so I always keep in mind that there is a DJ going
to spin it.so I usually make the remix into and outro very
Dj friendly. And always have a take off point. Unless it's
a chill track. That just keeps grovin'.
Access:
You have also had your own tracks remixed by Patrick Codenys
of Front 242 and Heiko Maile of Camouflage among others.
As a member of the next wave IDM/EBM movement, is there
something exciting about having someone like Patrick Codenys
remix your work?
Seb: Totally. When I heard Patrick Codenys was going to remix the
Bruderschaft track I got very exited, as he is a part of
Front 242, my all time electronic heroes. They are after
all the creators of the EBM term(electronic body music).
That was very cool. And his remix is one of my favourite
remixes on the Bruderschaft EP. I've never been into Camouflage(sorry),
but I know they're among the more respected bands out there,
so in a way it was cool as well.
Access:
In addition to producing and remixing, you have taken Icon
of Coil out as a live act- Tell us about your live setup
and your experiences performing live electronic music.
Seb: It's a lot of fun. Being on tour, travelling, play our songs
for the crowds. Of course loads of hard work and frustrations
as well. Our current live set up on stage is; Lead singer
, two keyboards/backup vocals. Christian on MS2000, and I
use the Virus Kb on stage as it got all those handy knobs
to play with on stage. I have my own stage preset set-up
for the live show. I spend a day or two before the tour or
show to go through some sounds, and store them in a separate
bank. I also use the arpeggiator very often, as I realized
it was very accurate and in time. I mostly use it for those
screaming 303 sounding patches, to give it all a little extra
live. I also feel it's important to play live and not go
on stage and pretend. First off all that is totally boring(
did it once due to some major technical problems with the
monitoring onstage. Never again). And to have an actual live
show. I mean to have one guy for every sound on stage...we're
talking about 50 keyboardists. That wouldn't be possible,
unless you're Jean-Michel Jarre.
But we are thinking about bringing some sequencers on stage and
a mixer desk. To have most of the main channels available
from stage to play around with.. kind of mix it on stage.
But that's just an idea so far.
Access:
I am sure our readers would love to hear about your studio
setup.
Seb: I see. Ok, lets start with the PC (no I am not a Mac user).
Pentium IV 2.2 Processor, 1 Gig DDR Ram, Yamaha DSP Factory
soundcard (amazing), Midiman USB Uno
Synths; Access Virus Kb (the mothership in the studio), KorgMS2000r,
Korg Electribe ER-1, Roland SH-09, Roland SH-3A, Korg MS20,
Roland Alpha Juno-2, Sequential Circuits Pro one, Kawai XD-5,
Roland D-110, Roland TR-626, Boss Percussion synthesizer,
Ensoniq EPS sampler.
Fx; TC Electronics M-One, Behringer Virtualizer, Behringer Duaflex
surround processor, Sony HR-MP5, Digitech DSP 16 FX Processor.
Mixer; Behringer Eurorack 2822.
Monitors; Yamaha NS10.
Microphone : Rode NT1
Everything I record, goes through the mixer. Then through the Duaflex,
and right into the Yamaha DSP Factory. All is mixed and produced
in Cubase 5.0, on a pc.
Access:
How long have you been a Virus user?
Seb: I got my hands on the Virus Kb right before our first EP release,
back in 2000 I think. So I've been an avid Virus user for
almost 4 years now, and it still surprises me with its sonic
possibilities.
I been going deep down into the core of the virus to fully understand
the flexible sound structures it can provide. It is one of
the first synths I know that actually got some really good
and usable presets. But I've always been "against" the
use of presets. I like to spend hours trying to get the right
type of sound I'm looking for. And to keep the music fresh
and innovative and not fall for the preset temptation. Of
course I've used some of the presets on the Virus in a couple
of tracks, but always changed it a little bit.
Access:
What role does your Virus play in your live setup, and
in studio, is there a type of sound you find yourself going
to Virus to create?
Seb: Live wise it is the keyboard I use on stage, every time, as
me and the Virus work well together on stage. As I mentioned
before, I have a set of sounds from some of the tracks we
play live, to add on top of the MD tape. Usually I play pad/string
type of sounds in the choruses and some screaming arpeggiators
on take off parts and such. I also play around with the lfo,
on weird fx type of patches.
In the studio the Virus is the mothership in the studio. It is the
master keyboard, the first in the midi setup. I use it to
control all the midi synths and drum machines, and even softsynths.
About what type of sounds? Well, basically any type of sound. That's
the thing I love about the virus; it is so flexible and can
create any type of electronic sound. I use it for the massive
unison basses, the phat leads, and the atmospheric moods.
Not to mention the distortion in the virus.. it is awesome!
That thing can create monster type of distorted sounds. It can sound
very analogue and very digital.
That's the cool thing about the virus, it can do anything. Well
except natural sounds, but that's not its purpose either.
I use samples for natural sounds like pianos and choirs and
such. And it's always very exiting let another instrument
go through the virus. And add the fx on the virus and such.
Really amazing results. I do that a lot with drum loops and
samples. I also used the vocoder on the virus on a couple
of tracks. I want to get more into that though. Just have
to find some time, now that's the problem. Time.
Access:
If you could describe the Virus in a word - what would
it be :)
Seb: One word? Hm.hard one. Addictive! No...: Mindblowing. I really
don't know which word can describe the Virus. Oh.I know the
word; Divine.
Access:
Can you tell our readers about your upcoming projects or
shows?
Seb: Phew, where do I start. Ok, These days I'm finishing off some
tracks for my Techno/club project Moonitor. 5 tracks are
going to be released on a Canadian compilation called U-Turn
3, released by ArtOfFact Records. Then I am just finishing
of some tracks with a Future-pop project called Monochrome.
It's a project between me and the vocalist of Spektralized.
We are working towards an album release sometime this year
or early 2004. Then I'm also finally getting down some new
Melt tracks. That's my first band ever. I just want to create
some new tracks. And I'm working some movie/games themes
cd. As in a demo cd I will send around to movie and game
companies around the globe to hopefully try to create some
themes for movies and games. It is a totally different way
of working. One is not limited to the beat system, one can
just play around with lfo's and modulation, without worrying
if it will be in sync or not. It's all about creating a mood,
a soundscape. Really cool. I will be doing that a lot in
the near future. And it opens my mind to working on tracks
from a different angle as well. Then I do some occasional
remixes. But the next month or so I will focus on the new
Icon Of Coil album. Scheduled for release January 2004. We
got loads of tracks going already. We just need to figure
out witch direction to go. Icon Of Coil's sound is wide,
not only one type of sound. So sometimes we get confused
on what to do, but we always come to a conclusion. We always
find that red line to stick with through an album. And on
top of that I always try to widen my sonic horizon, both
in sounds and production skills.
And after the album there will follow an extensive European tour
as well as a North American tour with Icon Of Coil. We're
playing in Mexico City 20th of September this
year. And some festival gigs here and there in Europe. And
there might be a North American tour with Moonitor next summer.
So there are many things ahead. I can see my future; late
nights, loads of coffee.. no sleep. But that's the way I
like it.
Access:
Seb, thanks for taking time to chat with us and donating
signature sounds to the virus sound library.
Seb: No problem. It has been fun. Anytime.
LINKS: Icon of Coil Website | Icon of Coil Signature Soundset
