El-P

Nicht allein, dass El-P ein Perfektionist ist wie er im Buche steht, auch seine Ziele sind herausfordernd und mutig gesetzt. Im Falle der jüngsten Veröffentlichung “I’ll Sleep When You’re Dead” hat sich der New Yorker viel Zeit genommen, um nach dem 11. September auf Stimmungsfang zu gehen und der niemals schlafenden Stadt gewissenhaft den Puls zu fühlen. Irgendwann einmal hat er den Beobachterblick auch gegen sich selbst gekehrt – und ist dann ins Studio gegangen. Wie spiegelt man das Chaos in Außen- und Innenwelt musikalisch? El-P setzt auf hochkomplexe Strukturen und schafft damit Verwirrung. Nicht von ungefär macht sein Album anfangs einen reichlich diffusen Eindruck. Doch je länger man sich in diese Klangwelten vertieft, desto stärker verdichten sich atmosphärische Flecken und Inseln. Mehr Harmonie ist nicht. Das große Ganze bleibt unerschlossen und nach allen Seiten offen. “I’ll Sleep When You’re Dead” ist ein beeindruckendes musikalisches Echo auf die Unsicherheiten unserer Zeit und ganz bestimmt eines der intelligentesten Rapalben des Jahres. Wir sprachen mit dem Mann hinter der Vision.

How long have you been working on the new album?

Well, I was working on it on and off for about three years. I started a couple of times, but then I had to make beats for the work with Mr. Lif and Cage. I kind of started working on it about 2004. I took my time with it.

How come that you have such “exotic” guest artists with you this time?

I connected with Trent, Mars Volta and Chan Marshal because I was already working with them for different projects. You know, I was already mututal friends with Mars Volta and I worked with them do to some remix stuff for a remix album that they were preparing – and never putting out. We just stayed friends. Trent Raznor, I met him and he asked me to do the Nine Inch Nails remix for the single of his last album. We also stayed in touch. Chan Marshall – we hung out a few times and talked about doing something together for a couple of years now. So it was just a natural thing when it was about time to do the record.

What comes first: the guest artist or the song concept?

The song! The guest artist is never first. Excepting the cases of Aesop Rock and Cage. We really made our songs together. But with everyone else it’s more like I have the songs written and I have ideas for certain parts that I had written that I wanted him to come in on. I wasn’t looking for making a record of collaborations.

You called this record your “post-traumatic stress album.” What does that mean?

I think that New York is in a state of psychological deray since 9-11. It’s a stressful time. I think psychologically we’ve all been a bit traumatized. The city has never quite been the same. And then all the events that have sprung up from 9-11 around the world. I think that we all walk around a little bit damaged. This record is more from the perspective of someone just trying to live. And walk through life everyday – with all of these amazing and dark things happening around him. It’s opposed to maybe the first record which was about the fear of new things happening.

You also try tp express these feeling by blending alot of different influences and genres. Is this the future of rapmusic?

I have no idea. *laughs* I don’t think that I could look at it like that. I hope I make records that contribute to the past of HipHop positively. But it’s up to the future to decide.

Do you have a specific vision for your sound? Is there anything you want to achieve
musically?

Yeah, I want to achieve the eloquent translation of a psychological state. Of what it means to be alive right now. Both musically and lyrically. I want to make a record on the times that are hard and sought to live that people can listen to and put on. And sit there for an hour and not want to get out of the chair – because it’s that engaging. And I want to make records as a whole. And not just a collection of singles thrown together on a CD.

How many hours has your average work day?

My average work day? I work from home. *laughs* The thing about my job is that there are no breaks. I’m always on the job. It just so happens that I love it. So it’s not a problem.

Where do you see your key markets?

North America and Europe. *laughs*

And Japan?

Japan is not a key market, Japan is a niche market. You know, Japan is a place that has always been supportive but it’s on a small scale. For everyone. So it’s essentially North America and Europe.

Do you feel like the reception of your music differs from location to location?

Sometimes. But I think most of the time it’s usually the same type of thing. Either people really know who I am or what I do – or they have no idea who I am. *laughs*

You will be touring Germany soon – what can we expect when you enter the stage?

I think cou can expect a really passionate fun show. I’m basically going with DJ Mr. Dibbs. And everybody who ever went to a Mr. Dibbs show knows – he’s out of his mind! We’re doing some cool stuff with lighting, projection and set design. Just really trying to have a intimate, powerful, fun show.

So you have a particular concept for your show…

Well, I have an idea, you know. What we’re trying to do is one of the thing that never seems to happen with independent HipHop shows. Noone ever brings a sound guy – so the sound is never any good. *laughs* And noone ever brings a lighting director. We’re bringing both. We try to visualize what’s happening in the show. For now, I have a band that I’m traveling within America that’s adding to the show. But I’m not bringing them to Europe this time. Just because right now it’s too expensive to bring ‘em. But basically we’re just trying to do something powerful. We’ll see what happens. I’m just really excited we get out there.