Hello! Could you please tell us a bit more about the track Let Go? It’s quite moving… I understand it was written for a short film? Along with Resistentialism, they’re by far my fave tracks from ‘Sound For Film’. Thanks so much! – Daniela

Thank you Daniela, for choosing a couple of the tracks I was particularly pleased with. In answer to your question:

Let Go was written for the credit roll of a short experimental sc-fi film called ‘Dreams of a Petrified Head’ for which I adapted various pre-recorded pieces.

I believe it can be viewed here: https://vimeo.com/51029862

(The credit roll version is an earlier recording and was unfortunately rather crudely spliced – another version of the track appears in the film)

The title relates to the main protagonist’s fate in the film. I also felt this title worked well in contrast to the opening title of the ‘Slope’ triple cd: ’Grip’

Resistenltialism – I love this word. It represent a theory to describe seemingly spiteful behaviour manifested by inanimate objects. It suggests that a war is being fought between humans and objects, and all the little annoyances that objects cause throughout the day are battles between the two. In other words the idea that ‘things are against us’. (wiki)

The film that this music accompanied depicted the workings of an elevator cable system, (by Shoko Ise). Being someone with quite acute claustrophobia it means that I avoid using elevators whenever possible, but when I do venture in, I go through an intense degree of stress during the brief time it takes, and I perpetually feel that the workings of the elevator are conspiring to fail. So this is what the music represents. The coda section depicts the sense of serenity upon the doors finally opening.

Thanks for your interesting response to my drum question. I once asked Terry Bozzio when he felt most psychologically balanced in life ‘behind a drum kit’ was his immediate response. Would you agree? Also have you ever done or been interested in doing drum clinics? Thanks

I can understand Terry’s perspective, like an athlete about to fire on all cylinders, with psychological malfunctions backed right off.

I wouldn’t know where to start with a drum clinic. It’s not my thing and I’m not qualified in that way.

Hello Steve. I was wondering, as a young artist who works with various platforms (design, photography, synthesizer, etc.) how you feel about newer generations using “old-methods” (film, analog-style synthesizer setups, manual design rather than photo-shop, etc.) rather than more 21st century technology? Some people feel it’s purely trendy but for me it seems like not only tribute to my influences, but it’s more hands-on and helps me reduce some tech costs (not buying vintage equipment though).

Great. It’s challenging to reinvent old methods with new approaches, and transform limitations into strengths. 

Hi Steve , I was wondering what drummers influenced you early on, whether you learned many rudiments and whether you played mainly behind the beat with Mick. Thanks

Some drummers push the snare which I really like, but I fell into playing precisely on the beat. I never play behind the beat. Influences are discussed in the upcoming book by Anthony Reynolds, (I think). Not learned any rudiments because I never took lessons. My source was to learn from others playing on recordings, tv or live …. no rudiments there … and there were no youtube tutorials back then! If there were I would have probably been a very different player. Actually, I recently learned to play Steve Gadd’s 32nd note funk beat from ‘School of Music Online’ just for the heck of it. Good fun when you get it up to speed. I reckon it could stave off dementia 🙂

Steve, how involved are you with photography now? Most of your published stuff is retro, but us Nosey Folks (and bloggers, lol) are also interested in anything you might be doing now :) Do you think digital has changed the way you see photography? Or how the rest of the world does–people can get good images now with an iPhone and Instagram, whereas 30 years ago results needed a different skillset (and a decent lab). Do you feel you have anything to add to an already image-saturated world? ;)

I do still very much enjoy photography but I don’t pretend to be ‘a photographer’. Photos I take now will look similar to many other peoples point & shoot images that fill the internet. My reason for exhibiting / selling / publishing retro photos is purely because of their historical interest / value. Images age well, so it’s like having a cellar full of fine wines. Those times are no longer to be seen, and because I was fortunate enough to be in a popular band of that time it perhaps adds to the insightful and/or voyeuristic aspect for the viewer. Anyway, I’m pleased I was snapping the old school way.

Hi Steve, I saw Steve Wilson’s HandCannotErase tour last week with its mesmerizing visuals by two different directors and a stop animation team frontending the show and accompanying each song. What are your thoughts on visuals? Would you combine your music and photographs somehow? Also, what memories do you have of working with Steve? I’m listening to Sweetheart Raw at the moment with you, Mick and Richard, watching the unusual video that goes with it. Thank you.

I think visuals are an important additional to live music. They provide another level on which to enjoy the music whilst also drawing the attention away from the performers allowing them to feel less pressure to visually entertain. Win win. Steven Wilson, hmmm … I think I worked with him on TheMindCanErase tour.

One last thing…what are your thoughts on Aleister Crowley? Thank you for your kind patience in reading this, and I hope to hear from you soon regarding this. You’re a great musician and human being, Sir! Sincerely, Fernando

Aleister Crowley was a sad shit-for-brains, probably messed up by religious parents (as so many are), but you’re asking the wrong guy … I don’t believe in gods and devils, they’re merely designs for man’s good and evil. People that play by those rules are to me tedious and boring.

Thank you, Fernando.