![]() V-It’s definitely much more through these things. In what ways do you think the nature of consuming music and live performance is changing? There’s music that you mostly want to listen to by yourself, and then there’s music that’s supported and improved by the atmosphere. I think it’s really interesting to have music that’s meant for performance. ![]() It’s this kind of fugazi cliche that the audience is more important to the show than the music… the combo of provoking them to do something and that becomes the event. It’s more like the togetherness of the audiences and us. That’s why we’re more interested that there’s an actual event when we play. Even though the music can sometimes be more heavy, in sort of experimental circles, when we played in L.A., there was a mosh pit. And that’s super interesting, and I think that’s been very successful, as well. So, then, to bring the energy into the room, you kind of need to charge the audience with all tools available, to boost that. V-It’s never been a very performer-led project, since we’ve always tried to draw ourselves more out of the picture and more, like, manipulate the room. So, you want your music to have a physiological effect as well as being a listening experience. There’s this kind of crude, hallucinogenic aspect to smoke and strobes, and we’re definitely into playing with the actual physiological affects of that, too. They’re aspects you can appreciate intellectually or conceptually, but it’s not necessary to be that deep ‘in the know’ of Amnesia Scanner. M-We wanted for it to have a very accessible and physical aspect. V-Also composition wise, this sort of, like, the maximum emotion of EDM and genres like that, which are very exaggerated, and kind of bringing that from maybe a different angle. M-The physical effects of stage technology, whether strobes or smoke, or being enveloped in smoke, it’s like being overwhelmed with sound and video. What is the sensory excess and overload in your music and shows meant to accomplish? Fingers crossed that we can tour in the future. It’s kind of sad it is music to be experienced with other people. But pretty quickly, the live part became kind of the most important aspect of it. M-Amnesia Scanner started as a very net-native, or, like, internet-first project. And then of course, still we could at least, in some limited form, offer these experiences, but no one really knows. So it feels a bit lame in a way, but it is what it is, I suppose. A lot of things we do are kind of planned to be experienced in. It’s always been a very significant part of what we do. What is it like to release music when you can’t perform it at one of your ‘sensory overload’ live shows? V-Yeah, it’s more like, “Tell me what did I do wrong, take me back!” It’s definitely not some nihilist statement that we’re transcending or leaving to Planet B. M-Yeah, and an important distinction is we’re not the one leaving the planet. The collection of songs sort of goes through very similar phases of emotions to the state of the world that you could go through when you’re going through a break-up. It wasn’t written with that thought in mind, but that’s how it came out. It was actually Martti’s colleague, Emily, who coined that term. ![]() V-It’s more like a break-up album, and I guess it was more to play with the break-up album as a musical form… Everyone knows what a break-up album is. In the press release, Tearless is referred to as a ‘break-up letter with the planet’. M-I was actually in Finland for three months, I just came back to Berlin like a week ago, but it’s like an interesting experiment in location and independence I guess. ![]() It hasn’t been as extreme as it clearly was in other places, like I wouldn’t need to report to the police if I wanted to go to the grocery store. V-It’s my first quarantine so I have no other reference point, but it’s been okay. Congratulations on your second LP, Tearless! ![]()
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