संगीत को नियमों में बंधा हुआ होना जरूरी नहीं है — और न ही इसकी संरचना, बनावट और इसे समझने के तरीके इतने सख्त होने चाहिए।
Music doesn't have to be so rule-based - and so strict in its structures, construction and perception.
Music doesn't have to be so rule-based - and so strict in its structures, construction and perception.
हम एक बिल्कुल अलग सोच के साथ आए थे, जो यह कहती थी कि "ध्वनि" वही है जिसे आप खुद परिभाषित करना चाहते हैं, और आप इसे अपनी पसंद के किसी भी तरीके से ढालकर संगीत का रूप दे सकते हैं।
We were coming from a completely different place, which was saying "sound" is what you want to define it as, and you can shape it into music in whichever way you want.
We were coming from a completely different place, which was saying "sound" is what you want to define it as, and you can shape it into music in whichever way you want.
हमने 'ग्रूवी, लेडबैक एंड नेस्टी' के लिए मार्शल जेफरसन के साथ भी काम किया था। इसलिए हम भाग्यशाली थे कि हमें कुछ वाकई बेहतरीन लोगों के साथ काम करने का मौका मिला।
We also worked with Marshall Jefferson for Groovy, Laidback and Nasty. So we were lucky to work with some really great people.
We also worked with Marshall Jefferson for Groovy, Laidback and Nasty. So we were lucky to work with some really great people.
मुझे लगता है कि इन सबके [द बिग फंक] के पीछे थोड़ा सा यूरोपीयपन भी छिपा हुआ था।
I think underneath it all [in the Big Funk] was a little bit of a Europeanness in it.
I think underneath it all [in the Big Funk] was a little bit of a Europeanness in it.
धुनों को गढ़ने, संगीत तैयार करने और उसे रिलीज करने के लिए आपका संगीत में प्रशिक्षित होना जरूरी नहीं है। यही बात हम 73-74 के दौर में भी कहा करते थे। और आज दुनिया ऐसी ही हो चुकी है — और सृजन, निर्माण तथा प्रचार-प्रसार के सारे साधन आज हर किसी के बेडरूम, बैठक और स्टूडियो में मौजूद हैं।
You don't have to be trained in music to create sounds and to produce and release music. That's what we were saying back in 73-74. And that's the way the world is now - and all the tools of creation, production and dissemination are there in everybody's bedrooms, front rooms and studios.
You don't have to be trained in music to create sounds and to produce and release music. That's what we were saying back in 73-74. And that's the way the world is now - and all the tools of creation, production and dissemination are there in everybody's bedrooms, front rooms and studios.
मुझे लगता है कि आप जो करते हैं, उसमें आपका एक निश्चित स्तर का आत्मविश्वास होता है। "अहंकार" इसके लिए सही शब्द नहीं है। मुझे लगता है कि जब आप इस क्षेत्र में उतरते हैं, तो आप इस बात से वाकिफ होते हैं कि आप इसे सही कारणों से कर रहे हैं — और आपके पास अपने खुद के नैतिक और व्यावहारिक सिद्धांत होते हैं। और हम पैसे के पीछे नहीं भाग रहे थे, बल्कि संगीत बनाने और अपनी बात को दुनिया तक पहुँचाने की इच्छा से प्रेरित थे।
I think you have a certain level of confidence in what you do. "Arrogance" is the wrong word. I think when you go into it, you're aware that you're doing it for the right reasons - and you have your own moral and ethical code. And we weren't driven by money, but by a a desire to make music and make a statement.
I think you have a certain level of confidence in what you do. "Arrogance" is the wrong word. I think when you go into it, you're aware that you're doing it for the right reasons - and you have your own moral and ethical code. And we weren't driven by money, but by a a desire to make music and make a statement.
हम उस समय बहुत भाग्यशाली थे कि हम वर्जिन के साथ काम कर रहे थे, और फ्लड के साथ भी, जिन्हें अब शायद ब्रायन ईनो के इंजीनियर और यू-टू (U2) के निर्माता आदि के रूप में ज्यादा जाना जाता है। भले ही हम किसी सख्त लोकप्रिय संगीत के दायरे में काम नहीं कर रहे थे, जो कि बहुत अच्छी बात थी, फिर भी हम इतने भाग्यशाली थे कि हमें ऐसे लोगों के साथ काम करने का मौका मिला जो इन सब चीजों की शुरुआत के मुहाने पर थे।
We were fortunate at that time we were working with Virgin, and with Flood, probably more well-known as Brian Eno's engineer now and U2's producer, etc. Even though we weren't working in a strictly popular music area, which was great, we were lucky enough to work with people who were on the cusp of those sort of things.
We were fortunate at that time we were working with Virgin, and with Flood, probably more well-known as Brian Eno's engineer now and U2's producer, etc. Even though we weren't working in a strictly popular music area, which was great, we were lucky enough to work with people who were on the cusp of those sort of things.
मुझे लगता है कि हमारे हर काम में एक खिंचाव और अलग-अलग दिशाओं में खींचती ताकतों का अहसास झलकता है। इसे "बीट म्यूजिक" कहना दिलचस्प है। यह बिल्कुल सच है कि इसमें लय सबसे आगे होती है, इसमें स्लैप बास है, और इसके नाम में "फंक" जुड़ा हुआ है। लेकिन मुझे लगता है कि जब हम इस तरह की चीजें करते थे, तो उसमें हमेशा एक व्यंग्य या कटाक्ष का स्तर जरूर होता था।
I think in everything we did, there's a sense of tension and a sense of things pulling in a different way. It's interesting calling it "beat music". That's quite true, the rhythm is up to the fore, it's got a slap bass, and it's got "funk" in the title. But I think there's always a level of irony when we did those kind of things.
I think in everything we did, there's a sense of tension and a sense of things pulling in a different way. It's interesting calling it "beat music". That's quite true, the rhythm is up to the fore, it's got a slap bass, and it's got "funk" in the title. But I think there's always a level of irony when we did those kind of things.
इसका कुछ हिस्सा बर्लिन में शूट किया गया था, लेकिन इसका ज्यादातर हिस्सा हैम्बर्ग में, वहाँ के मशहूर रेड लाइट एरिया रीपरबां के आसपास फिल्माया गया था। 'कीनो' (Kino) जाहिर तौर पर जर्मन शब्द है जिसका मतलब "फिल्म" और "सिनेमा" होता है और हमारी सोच हमेशा से सिनेमाई रही है।
Some of it was shot in Berlin, but a lot of it was filmed in Hamburg, along the Reeperbahn in Hamburg in the famous red light district. Kino is obviously German and "film" and "cinema" and we were always cinematic in our thinking.
Some of it was shot in Berlin, but a lot of it was filmed in Hamburg, along the Reeperbahn in Hamburg in the famous red light district. Kino is obviously German and "film" and "cinema" and we were always cinematic in our thinking.
[कीनो] एक गाने के शीर्षक के रूप में, और इसे बोल में पिरोने के लिहाज से बहुत बढ़िया साबित हुआ, और साथ ही यह भी दिखाता है कि उस दौर में हमने मल्टी-मीडिया को कैसे अपनाया था।
[Kino] worked really well as a song title, and to build into a lyric, and also how we embraced mulit-media at the time.
[Kino] worked really well as a song title, and to build into a lyric, and also how we embraced mulit-media at the time.
मुझे लगता है कि शायद इन सबके भीतर, फिल्म [कीनो] की अपनी एक लय और अपनी एक गतिशीलता होती है, और हम फिल्म की उस गति को पकड़कर उसे संगीत के साथ जोड़ना चाहते थे।
I think probably underneath it all, film [Kino] has its own rhythm and its own dynamic, and we were trying to capture the movement of film and cross-reference it with music.
I think probably underneath it all, film [Kino] has its own rhythm and its own dynamic, and we were trying to capture the movement of film and cross-reference it with music.
80 के दशक की शुरुआत में वहाँ (जापान) जाना एक बहुत बड़ा सांस्कृतिक झटका था। मुझे लगता है कि शिंजुकु की चकाचौंध और उन सभी चीजों का जो असर हमारे ऊपर पड़ा होगा, उसने निश्चित रूप से हमारी उन चीजों को आकार दिया जिन्हें हमने बाद में फिल्माया।
Going there [Japan] in the early 80s was quite a culture shock. I think the bombardment of Shinjuku and all that would have filtered through, which certainly informed things we later filmed.
Going there [Japan] in the early 80s was quite a culture shock. I think the bombardment of Shinjuku and all that would have filtered through, which certainly informed things we later filmed.
मुझे लगता है कि आज यही सबसे दिलचस्प बात है। यह किसी सेलिब्रिटी कला और सेलिब्रिटी संगीत संस्कृति के बिल्कुल विपरीत है।
I think that's the fascinating thing that exists now. This contrasts with a celebrity art and celebrity music culture.
I think that's the fascinating thing that exists now. This contrasts with a celebrity art and celebrity music culture.
हम हमेशा से चीजों को बहुत बारीकी से देखने वाले रहे हैं, और मुझे लगता है कि 'क्रैकडाउन' बिल्कुल ऐसा ही था और उसकी फिल्मी व्याख्या उस स्थिति के प्रति एक पत्रकार के नजरिए को दर्शाती थी।
We've always been observant of things, and I think Crackdown was very much like that and the film interpretation was that journalistic view of that situation.
We've always been observant of things, and I think Crackdown was very much like that and the film interpretation was that journalistic view of that situation.
हम हमेशा से पत्रकार रहे हैं और खुद को उसी रूप में देखते आए हैं। बस हमने संगीत के ज़रिए इसे एक नया अंदाज़ दे दिया था।
We've always been journalists - and have seen ourselves in that way. But we sort of recontextualized it through music.
We've always been journalists - and have seen ourselves in that way. But we sort of recontextualized it through music.
उस दौर में, शीत युद्ध की सोच हमारे भीतर पूरी तरह रची-बसी थी—युद्ध के बाद का माहौल और शीत युद्ध का असर। मुझे लगता है कि हम उसी झलकी को पेश कर रहे थे। यह दीवार के गिरने आदि से पहले की बात है।
In that period, we had the Cold War mentality imbued through us - the Post-war [environment] and the Cold War. I think we were reflecting some of that. This was before the Wall collapsed, etc.
In that period, we had the Cold War mentality imbued through us - the Post-war [environment] and the Cold War. I think we were reflecting some of that. This was before the Wall collapsed, etc.
जिस तरह दादा (Dadaism कला आंदोलन) ने प्रथम विश्व युद्ध से पहले की नैतिकता और सौंदर्यशास्त्र पर प्रतिक्रिया दी थी, ठीक उसी तरह हम भी उस समय संगीत की दुनिया में छाए रॉक संगीत के ढोंग और आडंबर के खिलाफ एक आवाज़ थे।
This was in the sense that if Dada was reacting to the morality and aesthetics of pre-WWI, then we were very much a reaction to the pomposity of rock that existed within music at that time.
This was in the sense that if Dada was reacting to the morality and aesthetics of pre-WWI, then we were very much a reaction to the pomposity of rock that existed within music at that time.
हम रूढ़ियों को तोड़ने वाले थे। हम महज़ लकीर के फ़कीर बनकर पुरानी प्रवृत्तियों के पीछे चलने वाले नहीं थे। इसलिए यह बहुत ज़रूरी था कि हम इसके खिलाफ खुलकर अपना पक्ष रखें।
We were iconoclastic. We weren't there to sort of follow the trends really. So it was important that we were making a statement against that.
We were iconoclastic. We weren't there to sort of follow the trends really. So it was important that we were making a statement against that.
हमारा मानना था कि हमारी सोच 'दादा' आंदोलन से जुड़ी है, लेकिन साथ ही इसने पंक (punk) संगीत का रूप ले लिया, जो उस समय के सामाजिक हालातों के प्रति एक विद्रोह था। यह हमारी सोच का भी एक हिस्सा था, और इसीलिए हम भी अनजाने में पंक की इस बयार में बहते चले गए।
I think we saw our reaction coming from Dada, but at the same time, it formed into punk, which was very much a reaction to the social conditions. That was part of it for us as well, and that's why we were kind of swept along with punk.
I think we saw our reaction coming from Dada, but at the same time, it formed into punk, which was very much a reaction to the social conditions. That was part of it for us as well, and that's why we were kind of swept along with punk.
यह हमारे लिए एक बहुत महत्वपूर्ण दौर था, क्योंकि भले ही हम कोई "पंक बैंड" नहीं थे और न ही उस सांचे में ढले थे, फिर भी हम उस दौर की बगावती और बेबाक आबोहवा से गहरे जुड़े हुए थे।
It was an important period for us, because even though we weren't a "punk band", and what became a model for a punk band, we were able to be dragged along by the spirit of that time.
It was an important period for us, because even though we weren't a "punk band", and what became a model for a punk band, we were able to be dragged along by the spirit of that time.
अगर आप चीज़ों को बदलना चाहते हैं, तो सबसे पहले हमें रॉक संगीत के उस घिसे-पिटे पारंपरिक ढांचे से बाहर निकलना होगा, और हम उसी बदलाव का हिस्सा थे।
If you're going to change things, one of the things we had to change is to get away from that traditional model of rock music, and we were a part of that.
If you're going to change things, one of the things we had to change is to get away from that traditional model of rock music, and we were a part of that.
मुझे लगता है कि हमने अपने बोलों, आवाज़ और संगीत के ज़रिए एक खास तरह के माहौल और धुन को पकड़ने की कोशिश की थी।
I think what we tried to do lyrically, vocally and musically was to capture a sound.
I think what we tried to do lyrically, vocally and musically was to capture a sound.
'क्रैकडाउन' का वीडियो सत्ता के कड़ेपन, रूखेपन और मंडराते हुए किसी अनजाने खतरे के अहसास को बखूबी बयां और प्रतिबिंबित करता था।
Crackdown, the video, interpreted and reflected a sense of authority and austerity and a sense of slight, impending doom.
Crackdown, the video, interpreted and reflected a sense of authority and austerity and a sense of slight, impending doom.
80 के दशक में भी हम शीत युद्ध के से माहौल में ही जी रहे थे।
In the 80s, we were still living in a kind of Cold War environment.
In the 80s, we were still living in a kind of Cold War environment.
मुझे नहीं लगता कि जब हमने शुरुआत की थी, तब हमारे इस अंदाज़ का कोई नाम था। अगर पंक संगीत की जड़ें टटोली जाएं, तो 'दादा' आंदोलन उनमें से एक है। और हम खुद को उसी 'दादा' परंपरा का हिस्सा मानते थे।
I don't think it had a name when we started. If punk has any roots, Dada is part of it. And we saw ourselves as part of a kind of Dada tradition.
I don't think it had a name when we started. If punk has any roots, Dada is part of it. And we saw ourselves as part of a kind of Dada tradition.