Calibre interview, December 2012

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DB: First things first, are you still interested in spiders?

Calibre: Yes, I still read about them and watch them, It’s great to be interested in something that so readily surrounds us, although that would disturb some people, I find them to be beautiful animals and worthy of greater study in many areas, but I suppose many species could claim that interest.

DB: When did these 3 tracks appear, forming the Renaissance ep?

C: To be honest the tracks featured are quite old, I won’t say how old though. When I look back it’s a strange place to be so I avoid it. It’s also nice to witness a certain type of transcendence, traveling effected without time.

DB: Some tracks there aren’t D&B, so where did the ‘non-D&B’ aspect come from or was there no thought at all: it just happened.

C: I think Zero T – who released these tracks on Footprints – liked the tracks from a few years ago and he wanted to do something a little bit different than a normal D&B only release.

DB: Is there basically a part of you that diverts from D&B, something which we first saw around ‘Shelf Life‘? I see it as sort of walking into another room in your world…

C: For years I’ve been trying to write more and more diverse types of music, and I suppose there’s loads of material that flows one way or another.

The tunes on the ep would be part of a period of music I did in a different direction a few years ago as mentioned, so it does have that Shelf Life vibe, all I can really say is I love doing different types of music and have done for years, but I don’t bloody release enough of it. I’m trying to rectify that though.

DB: I never know: are you based in Berlin now?

C: Nope. I love Berlin, it feels like what the 60s would’ve been like or something, but I wouldn’t want to live there, there’s too many artists and musicians, ha ha.

Seriously though I love where I spend my time in Germany and that’s in Moenchengladbach, famous football team from there, nice people, lot’s of things to see, fantastic food, and its a smallish city like Belfast, which is where I still live and write primarily.

DB: I know you are interested in visual arts, drawing, painting…

C: I’m trying to use my time spent in Germany to do a bit of painting and drawing, I can include the work for my label Signature, use it for the walls. And hopefully some day develop myself as a visual artist.

I read a lot, although I like non fiction for travel, generally history, science or graphic novels which span both fantasy and real worlds. I also read by author but I’m always discovering something new in every sense.

DB: How has 2012 been in general and was it the year you envisaged?

C: I’m not sure I can answer this. I think in different ways the year was like every other: challenging, emotional, exciting, boring. I’m just following the arrow of time my man. I always hope it turns out ok, everyday.

DB: So have you been travelling? What has stuck with you, in terms of travel, venues, places?

C: I loved seeing Austin, Texas this year, it opened my eyes to a place much misunderstood. Seeing the Eiger in Switzerland was immense. Swimming and traveling around Sardinia at the always memorable Sun and Bass festival, and the rain and strange weather everywhere I’ve been to.

DB: Onto albums, we last spoke after Condition so what is the next chapter, the next lp entity from you?

C: Next up I have 3 albums, supposed to have been released this year but delay and tiredness in travel and work crept in so I decided to take a bit of time with this next stuff, the new as yet untitled D&B lp will be release and after that I will be hopefully releasing Dominick Martin Valentia, more singer songwriter stuff, and then another Shelf Life lp, 3rd in the series, in and around all those I have other assorted tracks in assorted genres on other labels.

DB: My studio session question: which studio session of any album in time would you have liked to have been present at?

C: I’d liked to have sat in on The Jefferson Airplane, I always thought their sound had much to do with a crazy chaotic symbiosis, or maybe The Grateful Dead when Pigpen was rolling, that would’ve been a trip.

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DB: I could imagine many would like to have sat in with YOU.

C: Well I regard myself in the music underworld so I don’t carry too much weight, it would be great if one of them did want to work with me though.

DB: Speaking of recording, has your approach to recording changed much since the early days?

C: I think I’m more tech savvy but not much. I still approach making music the way I always have done, I maintain a primary focus on enjoying it, once I understood this simple thing I could always make mistakes and enjoy them even. Everyone does no matter how gifted.

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