Sulfur is a septet from New York (originally Virus, born on the ashes of
Motherhead Bug) which has recently debuted with an eclectic and eccentric
album, {Delirium Tremens} (Goldenfly, 1998). The current line-up includes
David Oumet (Motherhead Bug, Cop Shoot Cop, Firewater), trombone;
Norman Westberg (Swans), guitar;
Fiona Doherty, bass;
Heather Paane, violin;
Nick Heathen, keyboards;
Dan Joeright, percussions;
Tony Corsano (Contortions), timpani;
Michele Amar, vocals,
with help from
Jim Colarusso (trumpet, Motherhead Bug),
Yuval Gabay (drums, Soul Coughing),
Yuri Zak (accordion) and Paula Henderson (saxophone).
The story of the band is really the story of its leaders, David Oumet and Michele Amar.
Oumet: I grew up in Memphis, Tennessee, in a musical family. My mother was a pianist, and we always had a lot of interesting musical instruments around, for example an harpsicord. At a very early age, I took an interest in taping the sounds that I was producing and manipulating them. When I was 13, my parents gave me a tape recorder so that I could improve on my childish experiments, and eventually when I was 14 I got several synthesizers. This led me to an interest in the concept of editing. Then I moved to Rhode Island to study sound. At 17 I was doing films and experimentation with Todd Ashley (then in Shithouse, later in Cop Shoot Cop) and we used to hang out with the young Jon Spencer. Then we moved to New York to form Cop Shoot Cop. I played with them from 1986 until 1989, when I left to join Foetus. I played keyboards with both, but in the meantime I was beginning to move towards trombone and other instruments, getting away from the keyboards. In 1992 I conceived Motherhead Bug, a large band with strings and horns and multiple percussions. Michele played keyboards. The band collapsed under the weight of having 17 musicians, it was just plainly impossible to manage. So I gave up music to work on childrenn's books. For a few years I completely abandoned the music scene. I became a fan of Virus, the band Michele had started, and we began to talk about our ideas. Soon, I was again playing instruments and composing music..." Motherhead Bug, formed in 1989 by Ouimet , were a small orchestra which included all sorts of instruments. They made one great album, {Zambodia} (Pow Wow, 1993).
Notwithstanding the musicians' caliber, Sulfur is pretty much Amar's private
project.
Sulfur debuted with a single, [Water Song/ Nova Sangre] (Lungcast). An
EP, {Nectarine Head} (Massaker, 1997),
with [Bruise], [Water Song], [Sister Murder's] and [Nova Sangre],
was planned but never released. Theirs was already an instrumental rock
in the eccentric tradition of Motherhead Bug, if possible even further removed
from the rock standards.
Amar: "Others may say that music started to rock when musicians started playing electric instruments, but electric instruments were used in classical music too.
But how does this fit with the musical scene you come from?
Michel: "We are able to combine all these tendencies and styles into something that could be called rock music."
Are you in contact with jazz musicians?
Amar has written three soundtracks for the cinema and has been protagonist
of the opera "Electra", by Kathy Acker. In Sulfur her role is really that of
the arranger.
The arrangements give the album a mitteleuropean flavor, another aspect that
sets you apart from American rock bands, which traditionally delve into
country and blues music.
Oumet: "From Michele's viewpoint it's a natural thing. But in the same frame of reference, consider that I grew up in Tennessee, which is country music's homeland, and I got repulsed by it because of over-saturation. My parents were not listening to any country or blues, always classical. For me classical music was a bit of a rebellion against that backwards music." Amar: "Compositionally, for me it's very important to keep a balance between rhythm and melody. Some melodies can't carry a rhythm. For me it's like playing with time." Oumet: "Nova Sangre" is a good example: the rhythm is really the melody, something that you can't hum but something that you can feel." Amar: "A song may start in many ways. Sometimes the lyrics come first, sometimes it starts as just a sample or a loop. "Sister Murder" is really one loop that triggers everything. For [Fantastic Shot] Dave came up with the piano melody. I feel that, when the lyrics come first, I'm more attracted to the aspect of the real song, and when it's built around the melody, the song tends to be much simpler but much stronger. The compositional variety translates into dealing with different aspects of music."
Are the songs recent or are they a collection of what has been done in so
many years?
Your music has a very kinematic quality...
Amar: "I hope it flows well with the lyrics. I am often talking from the perspective of very rebellious characters, of desperate people. My characters tend to be people who rebel against thei destiny, who act just to show rebellion. I like to focus on people in despair. A friend was saying that people who have things do not need to worry about the future. But somebody who doesn't have anything has a completely different perspective and attitute towards life. She doesn't know how to get out of it. She feels real despair and real struggle. That's the state of mind I specialize in! At the same time, I always want to have some kind of humour. My music must have contents, something deeper and inspiring to say, but mitigated with humour." Oumet: "Humour is an essential point with Sulfur. At the end of the day, this is just an album of songs, it's not something that's going to change the world.
Humour was also essential in Motherhead Bug, right?
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