Anla Courtis Interview

Anla Courtis
drawing by Danny Milanese(

About the concept of "B-RAIN FOLKLORE"

"B-Rain Folklore" Has a melody.Structure .melancholy compares with other your works. What kind of meaning have "B-Rain Folklore"?And when you make, what did you think, How was it made ,creation-time ,used equipment ,some details, etc...

The record is based on the sound exploration of the boundaries of “folklore”, inspired by some Argentine and South American traditions, but also some Asian and African cultures too. But well of course is not a straight folklore record, it’s an interpretation of it, which in a way it’s pretty oblique and conceptual, it’s more about the idea we have of folklore, so it works in the mind field.

It’s true it has some structure and even some melodic qualities: it’s always a good thing to try out new things, to change, to take some risks and go somewhere else, in that sense “B-rain Folklore” has something interesting to offer. The album was recorded during 2008, down here in Buenos Aires. I played some special Argentine folklore instruments like: toba violin (made by a native tribe), erkencho (a horn instrument from the North west), bombo legüero and caja chayera (two typical drum instruments), sikus (panpipes also very popular in Bolivia and Peru), but also some marimbas and kalimbas (used in African and Asiatic traditions), Vietnamese bau (an Asian one-stringed instrument), various guitars, mouth harp, flutes, trumpets, flugelhorn, bells, tapes, etc. Of course all the stuff is processed and it includes a track which contains field recordings of the Shin-Osaka station from my first Japan tour back in 2005.

The album was supposed to be released by a US label in 2009, but for some reason it never appeared, it has remained unreleased until now, so it’s fantastic to have it finally released by Yogoh Records.

Anla Courtis; “B-RAIN-FOLKLORE”はフォークロアの境界の探求として、アルゼンチンや南アメリカの伝統、アジアやアフリカの文化にインスパイアされ録音しました。しかし、もちろんこの作品はストレートな民族音楽の録音ではなく、遠回しに、又は概念的に私が独自に解釈したものです。フォークロアが持つ、精神的な部分への働きかけ。その中には構造やメロディ、様々なものが含まれています。

いつでも、新たな事に挑戦する事、変化する事、リスクを取り別の場所へ向かう事は素晴らしい事ですが、その意味では“B-Rain Folklore”は興味深い表現であると思います。


このアルバムは、あるアメリカのレーベルから2009年にリリースされる予定でしたが、訳あってリリースされず現在まで非公開となっていました。その為今回、Yogoh Recordからリリースされる事をとてもうれしく思います。

What is "Folklore" for you?

Folklore can be many things. In a way is the tradition, the heritage but also something that cannot be completely described, some kind of power given to one generation to the next one to keep things going.


Your favorite

s there the artist whom you favourite now?What kind of music you like now?

Not a human one, but right now my favorite artist is the wind.



Argentina scene

How is your surrounding music scene situation? And what kind of artist with play on Buenos Aires or Argentina?

Well for sure we’ve had some good music in Argentina for years, but the experimental music scene is obviously a small one. I’ve been playing with a lot of people here from different backgrounds: rock, improvised, electronic, noise and contemporary, etc. Recently my friend Daddy Antogna (the progressive rock drummer of legendary groups like Ave Rock or Orion’s Beethoven) passed away. We’ve been playing with him for many years, so it was a sad moment. However we are now mixing the last record we recorded with him as Daddy Antogna & los de Helio. Also over the years

I’ve been making music for several experimental cinema directors. In the past I used to have a lot of bands, but now I’m focusing more on solo projects and working on studio collaborations, I also play sometimes with a new project called Los Telergia.
あなたの周辺のシーンはどのような様子でしょうか? アルゼンチンではどのようなアーティストと演奏を行っているのでしょうか?


最近私の友人Daddy Antogna(Ave RockやOrion's Beethoven等の伝説的グループのプログレッシブロックドラマー)が亡くなりました。私たちは何年も彼と一緒に演奏を続けて来ていて、とても悲しい出来事だった。しかし、私たちは Daddy Antogna & los de Helioとして録音した彼の最後の録音をミックスしている最中です。

又、長年に渡り、私は実験的映画監督の為に音楽を作り続けています。かつて私は多くのグループに所属していましたが、現在はソロやスタジオでのコラボレーションに焦点を当てていて、最近ではLos Telergiaというプロジェクトを開始させ、演奏を行っています。

Other country

You always trip around the world with releases and gigs. What is the most impressive country in your tour?

Well yes I’ve been traveling quite a lot: China, Australia, Taiwan, Peruvian jungle, Hong Kong, Argentine Patagonia, US West Coast from south to north, Scandinavia, New Zealand, Central Europe and some small countries like Latvia or Estonia,

only to mention a few. But well answering your question probably Svalbard is the most impressive tour destination I’ve been to, it’s Norwegian Archipelago extremely near the North Pole! There I played a festival at minus 30 degrees Celsius and went to the Russian cities Pyramiden and Barentsburg with snow-scooter rides from 4 to 10 hours, the crew had a Mauser rifle because polar bear can sometimes attack… Impressive enough for a tour!

中国、オーストラリア、タイワン、ペルーのジャングル、ホンコン、パタゴニア、アメリカ西海岸、スカンジナビア、ニュージーランド、中央ヨーロッパ、ラトビア、エストニア・・・私は多くの場所を旅してきましたが、最も印象的なのはスバールバル諸島へのツアーでした。 それは北極のすぐそばのノルウェー列島です。

私はフェスでマイナス30度の中演奏し、ロシアの都市、Pyramiden、Barentsburgをスノースクーターに乗って何時間も移動しました。クルーは白熊からの攻撃に備え モーゼルライフル を携帯していて・・・「印象的」と呼ぶに十分なツアーでした!


About Japan Secne

You have visited Japan. several times for paformance.How is Japanese scene?

Yes, next year it will be my fourth Japan Tour. I always love to go to Japan, it’s a great country and people are really wonderful there. Japanese scene is amazing, because the audience is very curious and always really open-minded. So it’s possible to play noisy or quiet and they are always receptive.

I really like Japan, not only Tokyo and Osaka but cities in the south like Fukuoka, Kokura or Oita are nice, also Kyoto, Kobe, Nagoya, Okayama, or -way north- Sendai are very enjoyable. I even played in some small towns like Yonago or Hofu and believe me Japan is always an amazing destination.



Play with other

You have played with various types musicians . The most impressive artist with play you?And do you think that what is important, when performing with other artist on improvisation?

probably the most important thing when you are playing with other musician is to reach some degree of communication, it can change from one experience to another and in fact part of the work is to find how this communication flows in each special moment, but without communication nothing works properly. That’s why to listen is so important. Listen if the first thing, then maybe you can play something.

My list of collaborators is pretty long (you can google it), it includes artist from different scenes: noise, drone, improvisation, psychedelic, electroacoustic, folk, rock, free-jazz, free-form, etc. so it’s difficult to choose only one artist, maybe you can choose it and answer this question for me.

おそらく、他のミュージシャンと演奏する時、最も重要なことは あるレベルでのコミュニケーションです。その中では一つの経験を別のものへと変化させる事が出来、演奏中にはこのコミュニケーションの流れをお互いの瞬間の中から探し出します。コミュニケーションなしには何も適切な演奏を行う事は出来ません。それが「聞く」という事が非常に重要な理由です。「聞く」事が最初に来るならば、何か意味のある事を演奏する事が出来る。

私のこれまでのコラボレーションリストはとても長くなってしまう(you can google it)ノイズ、ドローン、インプロビゼーション、サイケデリック、エレクトロアコースティック、フォーク、ロック、フリージャズ、フリーフォーム・・・。様々なシーンのアーティストと共演し、たった一人に限定する事は難しい。


What is your first musical experience? And how would you began to music?what kind of music were you affected?What kind of experience has you had?

I started playing classical music, but I have been always pretty curious so also I started early exploring sounds by myself. I think is good to have a classical background to play experimental music because you can see all from a different perspective.

So then I started doing sound research and composing some of my stuff, also the Reynols experience was good to search new horizons. And then I kept exploring music possibilities through different projects, music for films and collaboration with interesting artists from all over the world. This year I composed a piece for a contemporary classical octet, and to be honest I’m not sure what’s coming next.


Reynolsの経験から新しい地平を探し当てる事が出来、映像の為の音楽、世界中のアーティストとのコラボレーション 等、その他のプロジェクトを通しても音楽の可能性を探求し続けています。2014年、私はオクテットの為の現代音楽の作曲を行い、正確にはわからないが次のリリースになるかもしれません。

Your activities

Can I listen What kind of meaning does your music and activity have? I have seen your performance and behavior looks like a against anything modern society or material culture.What do you feel own activities?

It can be a battle or it can be peaceful, it depends on how you feel it. In a way what I do has both things. In a way it’s quite open, so the listener has to put something by himself/herself. However I cannot say with words what it means for me, the best thing is to leave music itself to tell it to you.

But of course I’ve been involved with music for more than the half of my whole life, so for sure it must be something strong somewhere.


"Music" and "sound"

How do you think difference between "music" and "sound"? And where is The border where a sound becomes the music?

Music needs sound and sound can turn into music, but I guess you always will need somebody trying to express something, not literally, not in the way you can say things with lenguage. There’s some kind of communication mystery there. That’s the key, even if you didn’t find yet any door to use that key…


Future activity

How will about your future activity ?

I have a bunch of records coming with fiends like BJ Nilsen & Stilluppsteypa, Tom Dimuzio, Aaron Moore, L'Autopsie a révélé que la mort était due à l'autopsie and some solo stuff as well. I’ll have a long tour for the beginning of 2015 and will be playing and composing the rest of the year. I hope to keep busy music until the last minute of my life. Let’s see what the future says.

BJ Nilsen & Stilluppsteypa, Tom Dimuzio, Aaron Moore, L'Autopsie a révélé que la mort était due à l'autopsie等の私の友人達やソロでのリリースの予定がいくつかあります。

2015年の初頭に長いツアーを行い、残りは演奏、作曲を行うでしょう。私の人生の最後の最後まで、忙しく音楽を続けられればと考えています。それでは また。

Anla Courtis