Norwegian band Famlende Forsok has quoted TEB as the main reference for one of its album.

One of the great things of the Web is that one can discover little music treasures recorded by obscure bands around the world.

Famlende Forsok is a Norwegian band recording avant-garde music from the Eighties, known in the underground for interesting albums related to medieval folk, progressive, kraut rock, industrial... all strictly 'post'.

On a recent interview (read at http://www.lunakafe.com/moon180/no180.php), talking about their tribute album to the works of American gothic witer H.P. Lovecraft ("One night I had a frightful dream", Gurls Records 2003), the musicians quoted Third Ear Band as one of the main influential bands (with Popul Vhu) during the making of the record.

Asks the interviewer: "One night... stands out compared to your other works, not only because of the language and lyrics used, taken from HP's original texts. The music also seems a bit different, at times more old-fashioned with several acoustic instruments and more discreet use of electronics. Why?"

Brt: "We had loose atmosphere in the background, wanting to arrange came from Lump. We wanted a Third Ear Band-feel, or Univers Zero".

Chrisph: "We wanted initially the music to be directly inspired by our subjective understanding of the meaning of the words... This would possibly make it even more like effect-fuelled film music than earlier works. Next, on the other hand, there was also an effort to make more traditional tunes in there. This I guess is much due to the fact that the years before this release, Lump was much into his other band The Smell of Incense, which was/is very much folk/psych oriented. At the start the landscapes were much more ambient and lacking themes based on regular harmonies. So in the end One Night... probably is a bit of this and that. Some radio-theatrical, some film-like and some like the Third Ear Band...".

Famlende Forsok in 2007.

Over the disputable Web/social networks logic of the "if-you-like-this-listen-this", it can be interesting to verify the idea of the group about its music sources because, even on a superficial listening, tracks as "The festival", "The shadow over innsmouth", "Nyarlathotep" or "At the mountains of madness" have unequivocally a TEB's flavour, attesting once more the Band is still influential on contemporary music.

So download and listen to the Famlende Forsok's record at:
http://www.megaupload.com/?d=ZNXC8QTW 
(thanks the great blog Mutant Sounds!)
A review of the record by Luna Kafé e-zine at:
http://www.lunakafe.com/moon82/no82b.php

no©2011 Luca Ferrari

An interview with Italian musician Fabio Zuffanti that 'demixed' on July 2000 the TEB "Elements" album.

As written on a past file in this Archive (http://ghettoraga.blogspot.com/2010/02/italian-musician-fabio-zuffanti-demixed.html), Italian musician Fabio Zuffanti recorded on July 2000 a 'demixed' version of the Third Ear Band "Elements" album.

Zuffanti is playing & recording music from 1994, solo and with some other bands, producing an huge amount of interesting music (check at his site http://www.zuffantiprojects.com/).

Because this Archive intend to document all the things related to the Third Ear Band, we think it's important to interview him about that experience, investigating on the process of 'demixing' that old wonderful tracks.

Fabio Zuffanti (2011)

When (and how) your interest for the Third Ear Band is born?

"My knowledge of music comes from my brother's records collection and dates back to my childhood. Among the records I remember a copy of "Music from Macbeth". Sure, I was too young at that time, but I remembered that music afterward as something of strange and magic, fixed in my mind even in my teen years. In that period, around the end of '80's, I remember I read a beautiful retrospective about the TEB on "Rockerilla" (an Italian rock magazine) and from there I wished to deepen the knowledge of the group. In those days  reissues of old albums was circulating in the shops and I bought a copy of "Third Ear Band" being enchanted. At that point I got all their (scant) discography. Frankly, I wasn't interested into the band reunion, happening just in that period, because I was totally involved in their arcane works recorded in the Sixties/Seventies. Anyway, after that I've listened to all the new recordings and the archive stuffs too".

What about the idea to "demix" the "Elements" album?

"It was just a very impulsive thing, without counts. One day, while I was listening to the "Elements" album, I wished to go deep into the music and try to get his core for expanding some traits of it. I wanted to build from that tunes something more dilated that started from the elements to achieve something more wide and visionary. I feel TEB compositions as tied to something of very hearthly, as it's normal for a description of elements characterizing our existence on this planet. I've tried to do it much more abstract, making such as a mix between the sciamanic TEB world and my artistic 'Enonian' (i.e. Brian Eno music) influence...".

The album recorded in 200

Can you explain us the concept of "demixed"? What do you mean exactly?

"I told you it before. It means to go deep in a tune. I like to think about a white hot core and from there to expand everything to outside, making it to grow and picking out some aspects rather than others. While for 'remix' I mean a different disposition of tracks, for 'demix' I mean something more emotional and specific. It goes to the core of creation, explodes it and then reconnects all the pieces...".

Which is the technical process of it?

"I did the work 11 years ago and I didn't have so much technology at the time - just a programme called Cool Edit. Using it I've imported all the four tracks from the original CD and sometimes I've expanded and delayed the tunes with  the time stretch, making everything became slower, out-of-focus and foggy; in some cases I've selected one element that it seemed to me topical for about the composition and I've rebuild the tune using just that kind of fragment. On everything I used a wide amount of delay, reverberations and echoes because I was interested, as I told before, to lend to the music a state of trance, more abstract as regards the original TEB tunes". 

What do you think about the TEB work? How did it contribute to your musical research?

"As a listener of the band I just think all the best. TEB is a really magical and alchemical group and it reflects into the music some medieval depictions where alchemy tried to reveal an inner and fantastic side of reality. For myself, this visual element is very very important; all the artists I love are those let me imagine arcane and timeless world.
On the level of my musical research, apart that experiment to 'demix' their music, I don't think to have ever take back in my compositions all the love I feel for the TEB atmosphere. Maybe because I've always worked on more 'rational' areas of composition and I've never worked on open structures and based on improvisation as Sweeney & co. did".

Is it possible you'll work on other TEB compositions in the future?
"I don't think at the moment, but I've got an old dream, to form an ensemble for playing a kind of music between TEB and "Hosianna Mantra"'s Popol Vuh. I know one day I'll do it, but I don't know when...". 


Download and enjoy the TEB "Elements" demixed album at http://www.zuffantiprojects.com/spirals/thirdearbanddemixed.htm

no©2011 Luca Ferrari