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CLINKER | PRESS & INTERVIEWS

SEE MAGAZINE INTERVIEW | JUNE 5, 2003
Min. sound, max. effect
Local artist Gary Joynes takes MUTEK 2003 by storm with his Clinker project.
Interview by Propser Prodaniuk for REMIX

You're a lifelong musician but it's only in the past few years that you've
decided to make electronic music. Talk about your musical past. How did you
discover electronic music and techno? What propelled you to start making it?

I had been working in heavier progressive bands for many years had become more and more drawn to experimental sound and psychedelic music. Approximately five years ago I was introduced to the first "post-rock" bands and the less self indulgent direction these groups were headed really drew my interest. As this was happening a few key listening moments presented some musical epiphanies that changed my whole focus (Tortoise... Bjork... Brian Eno). These artists all shared one major thing in common for me, a diversity of great sounds. I find it hilarious that a few years ago I never would have allowed a synthesizer in my music. Now they are my obsession. My movement into electronic music and techno is a direct result of my love of creating sounds and the endless possibilities this gives me to create my own complete compositions.

What does Clinker refer to? Is it the style of clinker brick buildings? Many are in Edmonton. If so, how do you feel your music has similarities to archittecture?

The name came to me from when I was very young when my dad would take me to his work at a cement plant. A very austere place really, all covered in gray dust, the mill droning in the background. The word "Clinker" was used around my house growing up and I think it may have affected me subliminally. The visual elements of the Clinker presentation are abstractly based on architectural form both constructed and deconstructed and it is interesting that you bring up the correlation.

Minimal music can be a tough nut to crack. It takes some patience and understanding. What is most satisfying to you about the genre of minimal ambient or minimal music in general?

I have always been fascinated with fine detail in art and I believe minimal music explores this with the utmost finesse and subtlety. The more I got into this music the more I discovered how deep the pieces can go. The music definitely requires more of an effort on the listener’s part. It’s an investment not all are willing to make. It’s like looking at sound under a microscope, the more magnification that is applied the more the details reveal themselves. You have to train your ears to be able to appreciate this stuff and I realize not everyone has the patience to do so. If you can get there it can be very rewarding experience.

Minimal music's success is based quite often on sounds. How long will you work on the sound or mood of a piece? Will some sounds and tracks take longer than others?

I usually have an idea of the type of sound I am trying to create as it relates to the other sounds in a piece. Sometimes it’s very process oriented, analogs work great for these moments giving you immediate results. At other times I am designing a whole new synthesizer within the Nord Modular, this can be a extremely tedious procedure. The results of blending the two methods together gives Clinker it’s own unique personality.

What influences your style? Why make this music as opposed to techno, drum and bass or house?

I guess like any contemporary artist working today I have many influences. Over the last few years I have been really drawn towards minimal techno and experimental work from artists on labels like Mille Plateaux, Raster-Noton and 12k. Also the more ultra-minimal sound artists on the Line, Trente Oiseux Labels. Many of the artists I like were introduced to me through the first edition of MUTEK in 2000.

Why do make minimal music?

My mind is usually racing most times of the day. I enjoy and need the open space I can create for myself. Call it self-imposed catharsis.

You will be performing at the MUTEK festival, documenting electronic and experimental music globally and nationally. How did you get in contact with the organizers? How big of an honor is it to play at this festival? What do you hope your appearence will do for you? Music-wise, Career-wise?

I have been following the MUTEK festival since it’s beginning in 2000. I attended MUTEK in 2001 and when I returned home had a very good idea of the direction I wanted to go with my music. Last year I sent MUTEK the OPASCOPE project. It is a duo project I work on periodically with Jason Borys and they liked it very much. In fact we almost made the program last year. This year I focused on my solo work and sent them a package of my latest work. It is a great honor to be chosen to play at a festival of this caliber and I believe it will open many doors for me internationally in the coming year. They chose one of my pieces to open the MUTEK 03 compilation CD which is being released worldwide. Um… yes, I am very happy.

How would you describe your music to someone who's never heard it before? Do you see pictures when you make your music or when you listen to it?

I usually try to relate it to soundscapes for film. Many people have told me that the music is very cinematic and creates visual images for them. Do I see images? Yes I do, I see abstract images and that is why I am drawn to present it as an audiovisual project.

What makes you happiest about making music?
Firstly, the look on my 17-month year old sons face when he dances.
Secondly, the backstage minimal techno groupies, and finally the money...obviously I'm joking...