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Interview with Markus REUTER by Dale JUDAY

We all do it... we visit a myspace page of a particular band or artist we like, and while we listen to the music we look around at some of the other content the author has decided to populate their profile with. We look at the subject lines of the blog entries, but we don't click yet, for fear of leaving the track mid-way through it's playback. After reading the typically long winded introduction in the form of a “bio”, if we have time, we will make our way down to the distinguished faces that hold prominent positions in someone's top friends. It was there that I followed a hunch and came across Markus Reuter's newest venture. It's called Quartet For The End of Time.

Now, this immediately caught my attention. Questions raced through my head. Was this a continuation of the color concepts in composition coined by Messiaen? Did Markus pick up the torch where the 1943 masterpiece left off? My thirst for more information was quickly quenched when I read what was by far the most interesting “bio” I ever read on a myspace profile. However, the “answers” only led to more questions. So, I just had to interview the man himself. I tracked him down and discovered he was in a Texas studio last month, here is a record of that encounter...

TPF: Markus, thank you kindly for taking the time to talk with me. Since you are in Texas, I gathered that you are in the studio with Pat Mastelotto. Is this for a forthcoming Tuner album?

MR: Yes, you're right. Working with Pat. I've been coming to Austin for several times per year since 2005. Doing work for more than just TUNER though, including production work for two other artists.

TPF: Would you like to promote the other two artists you are producing? May we know who they are?

MR: I am co-producing Moonbound’s second album which is going to be called "Peak Of Eternal Light". Pat Mastelotto played drums on all the tracks and there will be a couple of other international guest appearances, some of which will be surprising. Also, I started working with the American singer Chrysta Bell. I took over the producer’s chair on an album that features cover versions only. That's not all that's on my plate though, I'm also working on my own guitar model with Luthier Ed Reynolds. The first run of instruments will be made available later this year.

TPF: Is there a name for the model guitar you are working on? What are some of the things that will make this model unique?

MR: Yes, it is called U8. It’s my signature guitar model. Feel free to check out the instrument at http://www.touchguitars.com. The instrument was designed with both tradition and innovation in mind. I’ve accumulated lots of information about the playing technique and the scene in about 16 years of playing in the studio and on stage. I’m hoping that my instrument will bring the technique to a wider public because of the emphasize on ergonomics and the non-exotic, traditional looks. The ergonomics were tweaked in such a way that a proper and healthy playing technique can be acquired right away.

TPF: Your newest venture "Quartet For The End Of Time" is a unique approach in that it assembles four guitarists only. No bass, no drums, no keys. Nothing that the regular listening public may consider a "conventional" band. Knowing you, this is entirely intentional - but could you explain why this format?

MR: I have always been an "ensemble" guy and played in guitar orchestras in my youth. Quartets are one of the more common formations in instrumental music. Our aim with this group is to take the quartet formation to a different level of intensity by cutting down on quite a few common practices in (instrumental) music. Our music has been described as "symphonic" by members of the audience, which is due to the fact that the individual player plays less, thus emphasizing the group entity.

TPF: The thing that struck me most about Quartet for the End of Time is an interesting text written by you to express the inspiration... a sort of guide to live by when putting music together. I want to dive into that deeper, but jumping ahead just a little bit, I want to ask a question based on one specific thing said. It's the 7th tenet that says "Music lives in live performance". To me, that implies an oxy-moron where Quartet's music is "realized" in a live setting but almost knocked down a peg to be reduced to a recorded medium. So is there even a plan for this material to be released? I'm probably wrong about that, could you expand on that a bit more?

MR: Music does indeed live in live performance and my focus is going in that direction anyway. There are not many opportunities to play for me though and I still hope it will change some time. Speaking of recorded music: I love it, so I wouldn't want the Quartet's music to not be released. But then, especially in recorded music there is the tendency to censor yourself. This censorship is what we're trying to get over by using the tenets. I can only hope that we'll manage to present the music in as fresh and unaltered way as in live performance. We might as well release a live album. (Laughs)

TPF: If you decide to do a studio album and not a live release - it appears that may make for a very interesting practice. I would imagine that judging from your premise musically, that you would NOT be in the habit of "punch ins" or "over dubbing" and instead you would almost work backwards in the sense that "we were too showboat on that piece, let's do it again with less entertainment" etc - is this analysis far from the truth?

MR: I honestly didn’t think of it this way so far, but it is an interesting idea. In a way that’s what we’ve done (and still do) with the experimental CENTROZOON albums. For the QFTEOT though I think it is more a matter of accepting what we come up with in any given situation, be it live or in a studio setting.

TPF: Your first tenet says that the music is an "extension of the moment by consciously resisting the temptation to entertain. for example: if something feels like it is going on for too long, make it go on for much longer". To me, this almost implies not just merely a musical appreciation, but a mind-set as well - almost a mandate for the listener to be "caught up in the moment". Is that part of the goal?

MR: Not part of the goal, but maybe a side effect. It is important to understand that the tenets are solely for the musicians. They are addressing issues that professional musicians are faced with every day. The tenets are meant to create a counterpoint to way things turn for us usually.

TPF: QFTEOT's second tenet, "challenge the listener by using ambiguous harmonic material. more precisely: use modes of limited transposition exclusively". I ask this somewhat jokingly, but can the human ear catch that much "suggested harmony"? Certainly harmonies are apparent in sections of music. Although they are not definitively performed, they are "heard" as if they were. However, that's a section or a measure of two of a composition - but what you're asking the listener to do is be open to that for an entire score?

MR: Well, yes. The point though is, and I think that’s where you are coming from too, it is even more challenging to play something challenging than to listen to something challenging. The symmetrical scales help to stay in a more ambiguous area of sound and atmosphere.

TPF: The third tenet asserts "improvisation is not a valid tool to create something new. Improvisation is in order if it happens on one of the following levels only: rhythm, pitch, themes, dynamics, form. Interaction guided by quality listening is not improvisation". If I were a musician in your group, I'd feel like a child who has yet to really learn anything! This is utterly fascinating. I wonder if you sometimes feel like you are trying to convince people that the world is not flat when you attempt to express these ideas to someone?

MR: I don’t believe there are any secrets. Application of knowledge counts, (for me) the time of experimentation is over. Everybody knows everything, but for reasons that I don’t totally get, only few people speak out. So in the case of the QFTEOT I made the announcement of the ideas, yes, but there was no need to convince anybody. It was the right thing to do.

TPF: Your fourth item on the list is short, so my question will be short. It says "one musical idea per piece is more than enough". So, would you wish for LESS than one musical idea? At which point does that not become minimalist or even absent of sound?

MR: Yes. We’re talking ensemble music: If each member contributes a ¼ idea in a quartet setting, that’s already too much.

TPF: The 5th tenet was the most difficult to digest. It says "it is pointless to give people what they expect if they fail to honor you. Honor your audience by contributing to the self-actualization process of the listener". Instead of assuming or trying to reformulate what you mean, would you be so kind as to elaborate?

MR: This can be interpreted in many different ways. If you are making art you couldn’t care less about what people think about what you do. However, in our culture, artists start doing the things that their audience ask for in order to be able to make a living. Fair enough. But, as long as you know you’re not getting paid, don’t sell your soul. Create works that nobody is prepared to pay for, so you will never ever have to sell your soul. Get a day-job.

TPF: We already discussed your last tenet about music living in live performance, which could be the tenet list as a whole summed up. However, your 6th tenet also could be THEE one to function under. "allow the music to take on symphonic proportions. The whole is larger than the sum of its parts. also, the part is larger than the sum of its parts". Even if other artists wouldn't quite get where you're coming from in regards to the other motives, this tenet shines through as a sort of modus operandi. A flag that all artists might consider waving. Would you agree, or would you be more inclined to think it is good for some, but not all?

MR: I don’t know. I get the impression that music artists burn out too fast, though.

TPF: So, how does Markus Reuter consciously negate the pitfalls of the same "burn out" that may loom over head?

MR: Do I consciously negate the pitfalls? It’s probably just a matter of time. It would be quite astonishing if I were not to burn out. I guess there is a certain naiveté and unworldliness on my side that enables me to keep going at the moment. There is a big supply of energy stored inside me which is still trying to get out. I have no idea where this energy comes from, really. It’s probably just the usual “lack of recognition” trauma and maybe stems from being “small” and less valuable than others. In my inner world there is the need for me to improve, to get better at what I do. In practice I’m working on a wider knowledge as well as deeper knowledge. An exploratory urge is a big part of me and seems to propel me forward even in the most unlikely circumstances. I’m looking forward to the future very much.

TPF: Here's to hoping that storehouse of energy never depletes. Thanks for your time Markus.

MR: It was a pleasure talking to you. Thanks!

Visit Markus Reuter on myspace at: www.myspace.com/olderthangod.

Quartet For The End Of Time myspace: www.myspace.com/quartetfortheendoftime.

Markus Reuter's website: http://www.markusreuter.com.