From: stehelin at citi2 dot fr (Dominique Stehelin)
Subject: BB interview
Date: Fri, 17 Nov 1995 10:07:56 +0100 (MET)
this is the translation of an interview of B.Brufford published in a french
magazine for drummers in April or May 95. I re read it yesterday, and
finally thought you could use it. If anyone already did this translation,
stop me, tellme and don't hesitate to edit the thing. Of course, for reason
of length, and despite you know me for my endless messages, IUm going to do
it in several times.
Bill Brufford Interview part 1
Q: How would you define this new K.C. ? B.B: It happens to be the most
intelligent rock'n roll of the moment. The musicians involved not only know
rock, but jazz and "avant garde".Those musicians have so many sesions, so
many albums behind, that everything is easy. And the public is not obliged
to like us. If he likes, that's great, but if not, it's great anyway. It's
not a fascist organisation. K.C. is an ominous group of guitars, and there
is no equivalent today. It's very heavy too. Bands of the like of
Cinderella or Van Halen think they are heavy, but when it comes to
heavyness or density, you have to see a K.C. show. It's wild too, that
because the musicians know dissonance and that playing calmly can sometime
be a thousand time more threatening than an average teen ager band pushing
their amps to 11. Intensity and power are really things the band
masters. Looking for unexpected if I may say so is one of our
speciality. Something may be coming or not, whatever, you'll stay stuck to
Q: After those 11 years of silence that followed the trilogy Discipline, Beat
and ToaPP, how did you come to the realisation of the record?
B.B.: Each time we meet again, it's whole new band In 80-84 formula, we were a
lot into new technologies, like electronic drumming, synth guitars and ChapmannStick. Ethinc music was fashionable, third world and african voice polyphony,
just started to be discovered, Crimson was a lot into that. This time it's not
about getting back to those times, but 20 years before to the harder K.C. It has
become bigger, wider, fater, and because we are six, it's realy dense and thick.
Q: With Fripp as a leader and five strong characters, how do you care for each
one's ideas, and make an coherent album?
B.B.: Robert is a chief of orchestra, but not always the chief composer. He
write some things from beginning to end on the guitar, the music then flows
during reharsals. The art of using 6 musicians in a little room consist in
knowing what to do and when, and to what you have to hang. Not too much talking,
but playing. Too much talking leads to nothing. Robert kows prefectly how to
draw the scheme he has in his head. He had decided to live the music of this
80/84 era. That was all right for me. As long as someone as clear vision,
things can open up.
Q: Hearing thrak, it seems that you are less using electronics than previously.And now you have Pat Mastelloto.
B.B.: We both use electronics. I have a simmons SDX wich a computerised system
the assign samples to pads. It's an extraordinary engine, since you interfere
with the velocity of samples, and the triggering zone on the pad. Where you hitis as important as how you hit. What is funny is not knowing how it's going to
This album is very different from the previous K.C. Robert likes to have a goodrythm frame he can rely on. My relationship with rythm is more abstract. I
consider one must know where lies the beat, and I play something in paralell,
that can sometime get on your nerves I must admit. Pat is now the missing link
between Robert and me. He is the metronome that makes Robert happy. So I can
give more because we all know where the beat is.
Q: considering that Pat is the guardian of the tempo, your play on thrak is morlike adding all this shifted rythms?
B.B.: Most of the time, yes. On most of the cuts, You hear a big beat quite
obvious, often in 2/4, it's Pat. I come in, disturbing the whole thing, or ply
the same thing, earlier or later, that gives a rythm ambiguity. That create
tihgtness and loosening.