With the QLD Poetry Festival 2012 knocking on the door (that’s right, it starts this Friday!), it’s time to wrap up my discussion with Max & Kishore Ryan. It has been nothing but a pleasure rambling with both of these gentlemen and I have a stirring in the gut that there show together this coming Saturday (August 25), alongside avant-blues trio, Bremen Town Musician is going to be talked about as a festival highlight!
So with that said, let’s check in with the Ryan boys one last time…
Don’t miss Max Ryan and Where Were You At Lunch + Bremen Town Musician at QLD Poetry Festival 2012, Saturday August 25 from 10:00pm – Midnight as part of the session, Pierce the Salty Darkness.
ALS: The way we listen to music and read poetry has changed so much in the last 5-10 years. As artists, how does this affect on you? I am also interested to know how the experience of working together on Before We Lose Each Other Again has influenced you.
Max: The more it changes, the more it stays the same I guess. A great poem or a great song in the right hands will get you every time but I suppose in terms of music and poetry coming together there’s definitely more collaboration these days. Maybe we’re just reaching back to the roots of all verse which was chanted or intoned in some kind of musical setting? Poetry with music has never gone away really in terms of popular song, especially in the hands of the great songsmiths. Poetry recited in a more loose and not strictly song-structured form can be something else again. In some ways, without the defined structure of verse, chorus, bridge etc it can be harder to pull off and can easily run off the rails or, just as badly, end up with the music and words chugging along together but never really merging or sparking off each other. So I do hope our collaboration can’t be accused of that, which leads me to your next question…
One of the real delights of working with WWYAL has been the overall sense that we’ve been creating something bigger than the parts: it isn’t just their making some kind of background sound to my reciting the words. This kind of performance demands a deep listening, especially, I’d suggest, from the musicians and I think the band (and producer Nick Huggins) have managed this splendidly. There are so many little instances where I can sense a real dynamic between the music and the poetry (Kishore’s organ chord on the line ‘the tide moves one step closer’ in the poem halfway home is one off the top of my head). I think we’ve made a fine little album and I’m happy with the way we’ve captured a strong sense of spontaneity in it all. As Bob Dylan says though: ‘Time will tell just who has fell and who’s been left behind!’ Still, one of the best things to come from this project for me is how we sailed through with a deeper sense of trust and openeness with each other which often ain’t necessarily so.
Kishore: The way I read poetry hasn’t changed much in the last decade. For the most part I still read it in books and rarely on the internet. But the moments when I sit down at home, put on a record and listen to it in its entirety without doing something else at the same time are rare. Despite the fact that listening to an album with friends, as an event in itself, is such an incredibly nice thing to do, I have only done this a handful of times in my life. But people must have done this more often in the past. Surely. Max has said that as a child he would sit around the radio with his family. I often listen to albums in their entirety by myself on my ipod while riding, driving, etc. but concentrated listening to recorded music with others is a rare thing. As a listener I can see the change you’re talking about, but it’s hard to know how this affects my creativity. I’ve never collaborated with anyone over the internet. Samaan has though. He’s done some small releases with people he’s never met. He did a small release with a noise artist called Soma from Japan and another one with with Rolf Wong from Hong Kong.
For me, music is, among other things, a way to express emotion that you can’t express elsewhere. It is an expression that is perhaps impossible to accurately describe with words. But even though it escapes description, to a certain extent, it can of course have a solid relationship with words. Great songs and poetry come close to we might call the sublime, whatever that is. I will always have an interest in music, with and without lyrics. I love poetry and I love music, but they don’t necessarily work together. But I’m proud of our album. Working with Max underlined the fact that limitations can be helpful. Writing music which is based around great lyrics is very fun. Making this album was a special way to spend time with my dad and also my friends.
ALS: And what’s next for Max Ryan & WWYAL, both individually and as a collective?
Max: I can only speak for Max Ryan re your last question… just to keep on truckin I guess. There’ll be more collaborations with us all I’d say, can envisage maybe something more thematically structured even. Main thing is to be there on the night at QPF. I’m really glad there are four of us. If it was just me I’d be terrified!
Kishore: I’d love to record many more albums with Max and WWYAL and because of the inexpensive nature of the recording process, that is, an absence of overdubs, this is very foreseeable. In fact Peter is already talking of recording another one when Max comes down for our Melbourne album launch in November. Pete is one of those humans who has endless enthusiasm for music and life in general and we have him to thank for making this collaboration happen without too much procrastination.