Feature: Aiming For Enrike

Aiming For Enrike im Interview über Doppel-Single

Aiming For Enrike im Interview über ihre neue Doppel-Single; Fotocredit: Veronica Van Groningen

Aiming For Enrike haben sich nach einer Tour durch und um die Welt im Jahr 2020 wieder daran gemacht, neue Songs zu produzieren. Mitten in der Pandemie. Mit „Empty Airpods“ erscheint zwar erst im Januar 2023, aber schon jetzt legen sie mit einer Doppel-Single nach. „Empty Airports pt.2 & Empty Airports pt. 3“ heißt die Auskopplung und damit nehmen sie uns wieder mit auf eine minimalistische Elektro-, und Ambient-Klangreise. Man kann hier wirklich eintauchen und den verqueren Klängen der beiden Norwegern lauschen. Sie wurden ja schon immer von minimalistischer Musik inspiriert wie von Steve Reich, Kraftwerk, Battles und Four Tet. Aber auch Neo-Klassik Künstler wie Nils Frahm spielten stets eine Rolle.

„Sharing musical experiences in a live setting for the first time after the first lockdown was an almost magical experience for us.“

Die neue Single gibt schon mal ein gutes Stimmungsbild für das kommende Album im Januar ab. Wir sind super gespannt, wie sehr wir noch eintauchen können. So ist es schon super intensiv. Im Interview sprechen wir mit den beiden über die Single und die Erwartungen auf das neue Album.

Tobias and Simen, your line-up is quite unusual with drums (i corrected the question here) and guitar. There are no keyboards, no bass and no vocals. Have we finally arrived with you in the age of minimalism?

Aiming For Enrike: „We have always been inspired by minimalist music by the likes of Steve Reich, Kraftwerk, Battles, Four Tet, Burial, Nils Frahm and Philip Glass. On this last record however we have delved deeper into the development of small simple ideas over longer periods of time. This has made Empty Airports our most minimalistic record to date and we really enjoy this way of playing together.“ On the instrumentation: we have added a couple of synths and a drum machine to the live setup, so while the music is becoming more minimalistic, the setup and instrumentation is slowly getting bigger. We don’t have a bass in the setup but those who have seen and heard us live know that we have plenty of bass coming out of the guitar.“

„Empty Airports pt.2 & Empty Airports pt. 3“ are your two singles, which are also part of your new album. To what extent do they already give a good insight into the new album „Empty Airports“?

Aiming For Enrike: „It is a pretty good representation of the feel of the record in the way that it dwells on a theme and slowly transforms it into something else. It is one of the slower ones on the record.

Despite the minimalism, your sound is very sprawling and one is tempted to lose oneself in it. Is that supposed to have some sort of meditative effect on us?

Aiming For Enrike: „It certainly has a meditative and sometimes hypnotic effect on us when we perform it, and hopefully this will translate to the audience. The best things in life usually involve losing track of space and time, and that’s what we have been trying to achieve with our new music.“

Have you already been able to perform the two tracks live and if so, how were the reactions there? If not, what reaction are you hoping for?

Aiming For Enrike: „It is actually one 13 minute song that we have divided into three parts on the streaming services (part 1 will be out when the record is out), so when we play the song we play the whole thing in one go. We did some shows during the pandemic with limited and seated audiences where we performed something like 45 minutes of new unreleased music from the record and it actually worked pretty well in those settings. It also mixed pretty well with the songs from our previous records while it added a new more hypnotic element to the shows.“

„Empty Airports“ was composed and recorded during a time marked by the reflection of the Covid pandemic, the reflection on months of lockdown in 2020 and 2021. What is your final verdict on this and how will you implement it musically?“

Aiming For Enrike: „It is very hard to have a final verdict on it since it encompasses so many different things. It feels like the whole world needs some time and distance to truly evaluate these past couple of years in order to see what we can learn from it, what the long term effects will be etc. It has certainly been a big reminder for us of how important it is for us to play our music live in front of people. Sharing musical experiences in a live setting for the first time after the first lockdown was an almost magical experience for us. On the musical implementation of it I guess you could say that the record is our artistic reaction to the world the way it was when we made it, coupled with the kind of musical expression we were into at the time, but this has always been our process.

 

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