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AmbiEntrance: How much would you say that being twins affects your
musical work together? As far as composing and performing,
what are the differences between you two?
Nigel: It's strange that people ask us this question expecting us to know the answer. For us, working together as twins is
completely natural - we've been making music in that way for over 20 years. We work well together, musically and creatively. Obviously we have similar tastes due to our
upbringing, but our separate lives provide us with just the right amount of 'tension' from which creativity thrives.
We'll question each other, but then both know instinctively
when something is 'right'. It also acts as a great form of
quality control, working both separately and together in the
studio, bringing ideas from numerous sources. Musical ideas
therefore start in many different situations. We then
develop them, either together or individually - there is no
set pattern.
Klive: We first began our 'collaboration' in music when, for our sixteenth birthday, our parents bought us an electric
guitar between us. It seemed only natural that one of us
should learn to play bass guitar, so that we could 'form a
band'. The collaboration has been going on ever since.
AmbiEntrance: In those early days, what sort of
music were you playing? How and when did you did you begin
to gravitate toward your "trademark" sound?
Klive: We began by learning to play songs by Siouxsie and the
Banshees/Magazine/Penetration, even performing in the school
Hall and at parties. It wasn't until we came to Sheffield to
study, that we came across new instrumentation with which to
express our musical ideas. A friend leant us a Logan String
Machine, our first keyboard, and we started to experiment
with 'string' sounds. It wasn't long before we bought the
keyboard and incorporated the String Machine into recording
of the 12" EP 'Sentient'.
AmbiEntrance: If you were going to pin a name to your sound in general,
what would you call it... Neo-Classical? Electro-Orchestral?
or what?
Nigel: Categorising our music and placing it within a certain genre has always been difficult. People ask 'what's your
music like'? and finding a simple short description has
always alluded me. Neo-classical is apt, but perhaps
misleading, whilst Electro-orchestral is a new variation
that I've not come across but quite like.
AmbiEntrance: How do you think classical "purists" feel about your
music?
Nigel: I've got no examples but I think they'd hate it. They
would obviously spot that we've got no classical training
and abhor the electronic elements that we introduce.
Klive: I think the fact that they deem themselves 'purists' answers that question. In their eyes anything that veers
from the 'idealised' classical form of music is bound to offend. However I view this type of music appreciation as severely blinkered, for instance, over the past fifty years
conductors have 'interpreted' the great masters symphonies and concertos; colouring the original with their renditions. It is nothing short of a subtle form of remixing.
AmbiEntrance: Since you've had no formal training, what have been the
sources and inspirations for your "informal" training?
Klive: Listen and Learn.
Nigel: We make our music intuitively and the fact that we don't adhere to any set musical principals, theories or logic,
gives our music that special uniqueness.
AmbiEntrance: In The Nursery has been recording for nearly 20 years
now; in this timespan which has changed more, yourselves or the industry?
Nigel: I think we've both changed (ourselves and the music industry) and the changes are for the better. Our original
impetus to make music was taken from the punk ethic that anyone and everyone should have access to the means of making music. That ethos has undoubtedly been helped and
improved by modern music technology, especially sampling and the digitalisation of equipment and playback formats. I like to think that we've developed, rather than changed,
over the last 20 years, and progressed alongside the changes within the music industry. Today the internet is threatening to disrupt our whole outlook on music and our access to it.
It's definitely an exciting time with new technologies evolving at a fast rate, so much so that we need to wait and see just what standards will survive and become established.
AmbiEntrance: Any predictions as to where technology will take music
(in general) in the next 20 years?
Klive: Well twenty years ago, the nearest piece of equipment that resembled a computer was the pocket calculator.
I can't see the next twenty as being so explosive. But certainly the computer will become smaller, faster and even more wide-spread. Nowadays I think we all realise the
potential of composing music with computers, its now a case of educating people to accept the computer as an equal 'instrument' in the creative process.
AmbiEntrance: In what ways would you say groundloop is different from your previous recordings?
Klive: I don't think groundloop is a great departure from any of our other works. A lot of people have remarked that the
album evokes the spirit of 'Koda' and 'L'esprit', partly
because of the use of orchestral percussion and classical
form. But, over the years, I feel we have been able to
'enhance' the trade-mark sounds of ITN, nurturing the style
whilst embracing new technology.
AmbiEntrance: groundloop also features voice, oboe, flute and drums;
what would you say is the ratio of "natural" to sampled/electronic instrumentation?
Nigel: We've included 'real' instruments like oboe, cello and flute ever since we worked on the soundtrack 'An Ambush of
Ghosts'. But I also consider our use of strings as 'real
instrumentation', because they are samples of real strings
which we then utilise in our own way. I suppose the split
generally runs at 50/50, though you wouldn't always know it.
AmbiEntrance: The Groundloop Tour 2000 will be launching soon; what are you most looking forward to about the tour? What do you most dread?
Nigel: What I'm really looking forward to is playing, and
getting a live instant reaction to, the new songs from
groundloop. We'll be performing around 4 tracks, which I
think is the most that we've previewed from a new album. The
nature of the new songs is such that they are ideally suited
to playing live with all the orchestral percussion that we
incorporate.
What I dread is playing poorly equipped venues because it
wastes so much time and always leads to compromises. Luckily
German venues are renowned for their excellent sound systems
and general good attitude towards touring bands.
AmbiEntrance: I don't see Q's name (letter?) mentioned in the liner
notes of groundloop; was he not involved this time around?
Nigel: Q has lived away from Sheffield for a number of years
now. He is still an important part of our live shows
(joining us for all tours), but has not been creatively
involved with any of our studio work since the 'Anatomy of a
Poet' album back in 1993.
AmbiEntrance: Tell us about Dolores Marguerite C.; how did she become
involved, what does she do when she's not working with you,
and what does "C" stand for?
Klive: Dolores has worked with ITN, both live and in the studio, since the Trinity/Elegy recordings in 1987. She has
provided all of the female vocals. Despite having a full-time career outside the band, visiting countries in the Far East, she still finds time to tour with ITN and
spend time in the studio recording lyrics.
Regarding the "C"....well that would be telling now, wouldn't it?
AmbiEntrance: Does Dolores collaborate directly with you on lyrics, or
does she work independently in that department?
Klive: Sometimes its the simple intonation of one word, that we latch onto and develop. At other times its a general 'free
for all' think tank that takes place in the studio whilst recording a guide vocal track. But in general, the lyrics are inspired and influenced by the music.
AmbiEntrance: Since Dolores is multi-lingual, how pivotal was she in
the creation of Lingua, and what can you say about that
release?
Klive: The album 'Lingua', examined language - its development,
phonetic styles along with our understanding and use of
words. The vocal texts were married to the musical pieces
as much for there rendition as for their overall 'meaning'.
The vocal contributions came from a number of different
sources - through friends and contacts in Mexico, Japan and
Italy, and also our work with Dolores Marguerite C.
I suppose we chose pieces that would work with our music, we
didn't want to use a strange voice just for the hell of it.
There also had to be some relevance to the inclusion within
the concept of language. We also attempted to present a
diverse selection of languages, each with there own
identity.
The Japanese voice was chosen simply for its phonetic
character but also for the particular delivery, treatment
and intonation. Biello Dumlo was important because as an
ancient language it is in danger of being forgotten and
hopefully our use will help document and inform people of
its existence, because it is an extremely beautiful
language.
AmbiEntrance: After releasing on Sweatbox and Third Mind, you decided to start your own label. What are the best and worst aspects
of doing so?
Nigel: Following the demise of Sweatbox Records we had already
started to re-issue earlier recordings, so when
Roadrunner/Third Mind decided to part company with us, we
were well equipped to set up our own label - which is what
we did immediately.
The best aspect is the enormous freedom
and artistic control that we still retain. There is of
course an increased workload, which can threaten creativity
- but we've always taken an above average participation in
everything connected to our music.
AmbiEntrance: 1995's Scatter was the first new release on your own ITN Corporation label; how did you go about choosing past tracks for this retrospective disc?
Klive: For the compilation 'Scatter' we chose a broad spectrum of songs, from various albums including many tracks from
rare releases whilst adding new remixes and versions that
had not been available before. 'Scatter' was an ideal
opportunity to gather together many 'loose ends', hence the
title, but the name also refers to the world-wide reach that
IN THE NURSERY's music had extended to - the accompanying
booklet quotes a multitude of people from all over the
world.
AmbiEntrance: Your tracks have been used in several films; do you
think this was because your music is already so "filmic"?
Nigel: Most definitely - you've answered your own question, and there's not a lot more we can add. We don't deliberately set
out to make our music cinematic - it just happens that way.
Recently we came up with a little phrase that describes what
we do, it's 'music to make movies to'.
AmbiEntrance: "Hallucinations?" was featured in Claudia Schiffer's
workout video. Did that project involve any personal contact
with Ms. Schiffer?
Nigel: No - the music supervisor for the project simply chose our music, but apparently Claudia said it was one of her
favourites pieces. I realise the whole idea might sound tacky to some - but it's very rewarding to hear our music being played as Claudia exercises on a rooftop in Prague.
AmbiEntrance: Will your music be appearing in any upcoming films that
you can tell us about?
Nigel: Miracle Road is featured in a new German film called
'XXL' and we're waiting to see if Hymn Noir is going to
continue beyond the editing stage with a major British film
- which until it's confirmed, we're reticent to divulge
further. Sorry.
AmbiEntrance: You also record as Les Jumeaux. How is it decided
whether a particular recording will be by In The Nursery or
Les Jumeaux?
Nigel: It's difficult to say how we decide - we just instinctively know. If I had to generalise, Les Jumeaux
material is more overtly electronic and experimental, whilst
ITN tracks follow the unique style and ambience that we've
developed over the years. With Les Jumeaux anything is
possible - with In The Nursery there are limits and
boundaries which we don't cross.
AmbiEntrance: Will Les Jumeaux be releasing anything in the near
future?
Klive: The new Les Jumeaux project is gradually coming together. We have reworked a track from an Attrition song
(it started out as a remix, but ended up as a completely new
song), that will go onto the third Les Jumeaux album, along
with a remix we are currently working on for Andrew
Weatherall / Two Lone Swordsmen.
AmbiEntrance: What can you tell us about the Optical Music Series?
Nigel: We did our first one-off live musical accompaniment to 'The Cabinet of Dr Caligari' way back at the beginning of
1996. That was such a success, as well as being something
that we enjoyed, that we organised a tour of similar
screenings and released the soundtrack as a CD. We knew then
that we wanted to continue and be involved with more silent
film projects, so we came up with the Optical Music tag and
design branding for the CD. These projects are so rewarding
for us - they allow us a wider variety of music making, as
well being extremely fascinating in their own right. We
currently discussing a new venture which we plan to premiere
at the end of this year.
AmbiEntrance: Is it a surprise, or can you give us a hint?
Klive: The actual film title hasn't been decided on, so we can't give out too many details at the moment. But hopefully
the soundtrack CD and UK tour will also be followed by a
video release.
Nigel: We're deliberating between 2 titles - one French, the
other British. Either way it's going to be a fresh and
exciting project.
AmbiEntrance: You've got quite a nice website... who's responsible for
that?
Nigel: The site was initially set up by a fan in Holland well
before the internet was such a world-wide success. Since
getting an email account ourselves we made contact and kept
the site updated with news and data. The current look and
set-up was actually designed by ourselves and we continue to
compose new pages and links all the time.
AmbiEntrance: It was very interesting meeting you both; is there
anything you'd like to add while you're here?
Klive: Yes, many thanks for the stimulating questions. It is sometimes difficult to constantly respond with fresh
answers, but this interview has been quite thought
provoking.
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