The Necks, hopefully in talking mood

Three Questions for Chris:  

1) the title of the forthcoming album „DISQUIET“ is not an easy one, not suggesting trance-like feelings often associated with some of your albums… what made you chose the title for the whole boxset of those four long tracks?

2) can you give some insights in the piece RAPID EYE MOVEMENT? Especially after playing it and having done some post-production… What comes to your mind when now thinking back of it? What do you like especially about it, what was a special moment etc.?

3) two weeks ago, i listened to one of the four tracks in Paris, on a warm sunny afternoon. And of course i chose WARM RUNNING SUNLIGHT knowing I would definitely be the first human to listen to it in my favourite Paris Park, Le jardin du Luxembourg. What a joyful experience lying on the green grass with closed eyes (mostly), and a peaceful atmosphere all around. Now i know you‘re not doing program music. So the title was  chosen as a counterpoint to the other tracks or was there any little story with sunlight involved?

Two Questions for Tony:

1) on that very long track GHOST NET you play a long time a kind of irregular double rhythm, what I would call a „complex stumbling rhythm figure“… at some passages the drums work in synchronicity, so to speak, but very often there is this „disquieting“ feel of the rhythm… of course, the ear adapts to it and the music  creates a wild, strangely wonderful energy. So  what made you think of working with such a challenge (in the ryhthmic field)?

2) is there a piece on this boxset, that reminds you – when listening back to it after playing – (now matter from how far) to other musics like tribal music or certain jazz albums or whatever. Apart from creating a unique sound as The Necks, i think it is not so far out to feel sometime a connection (by surprise) to some other guys‘ musics…? 

Two Questions for Lloyd:

1) can you give some insights into the piece RAPID EYE MOVEMENT that develops from a very relaxed state of mind to a very intense piece of music. Quite at the beginning there is your bass with a  recurring „one note sound“ that looks like a steady announcement of stranger things to come….

2) out of pure curiosity: what are three favourite albums from ECM and IMPULSE, which three of these these two labels enter your mind first when thinking, and please leave out the most famous like A LOVE SUPREME or MUSIC FOR 18 MUSICIANS…. i remember Chris speaking to me about his love for Pharoah Sanders‘ Live at the east with Michael Bonner on piano  – and with great joy i discovered that one:) so, shoot…

And thanks for you all doing this….