Ensemble Voyagers – Asadoya Yunta
ARTIST NAME:
Ensemble Voyagers + Daniele Montagner + Shinobu Kikuchi
SONG TITLE: Asadoya Yunta
ALBUM TITLE: Two Songs from Okinawa
GENRE: Traditional/World
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The Ensemble Voyagers stems from Daniele Montagner’s idea of constituting an “open” musical group, dedicated to exploration without hesitation and prejudice of musical jewels ranging from the roots of Western civilization to the traditions of non-European cultures, passing through medieval music up to the present day.
A sound journey is undertaken through the aesthetics that has represented and continues to represent the history of humanity, its roots, and its evolution.
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Tell us what your fans are saying about your music.
They like the cinematic progression of music, the authenticity of sounds and a pure aural musical experience.
They like the idea of the collective of sensationally archaic classically styled musicians with contemporary tonality.
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Tell us the factors you consider in choosing a song as your favourite.
We choose the music that touched us emotionally and that still comes to our mind.
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Tell us the names of producers you will collaborate with if you have the chance.
We are shortly planning a new record release of an instrumental medieval dance and probably a musical journey in ancient Greece, always produced as Ensemble Voyagers.
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Tell us the names of the songwriters you will collaborate with if you have the chance.
The latest productions I mentioned do not currently involve collaborations outside the group.
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Tell us your favourite TV show and state your reason.
We really like programs that talk about the beauty of nature and our planet and art programs.
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Tell us your best mood to create a song.
Ideas come when you least expect it. It’s like a flash! Then the inner engines come on as if by magic and work begins until everything becomes clear and bright.
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Tell us your interpretation of fame or success.
The most important thing for anyone is the feeling of well-being that one has when what one gives with one’s work and commitment is appreciated and considered.
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Tell us the names of artists you will collaborate with if you have the chance.
There are many who I would like to collaborate with, but for good luck, I still keep them secret!
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Tell us about your experience performing on stage for the first time or recording in the studio for the first time.
The first time in the studio I was stone! I asked myself: but am I the one who is playing? I felt like I was in a room full of mirrors and everyone was putting off the worst of you!
Now instead I love working in the studio, it’s like doing Zen, it’s an act of pure meditation and musical concentration, you hear the sound in its utmost purity and you can’t escape, you can only try to get even more in, to improve, to perfect.
Working in the studio is like being naked, it can be merciless but it’s a great gym!
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Tell us how you approach songwriting.
I approach myself very rationally: first of all, I imagine the sound it must have, when the sound is clear and the structure and architecture is clear, I begin to build the sound environment. I imagine it three-dimensionally as if it were a painting to be painted, a cinematographic scene, a dress to do…
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Tell us your opinion on blending genres or experimenting with sound.
I am an enthusiastic advocate of sound experimentation. I have been playing contemporary music for years and I approached electronic music by attending courses at the University.
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Tell us how you deal with rejection.
It depends on the mood… Of course, it doesn’t please, and it depends on the nature of the refusal … I try anyway to understand the reason for the refusal and where possible to look for solutions and modifications, it can be an occasion of awareness and growth.
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Elaborate on what compels you to sing.
I play, I sing only on my own, at home and often in the car … Playing for me is a necessity of being. The more I play the more I want to play because the world of sounds regenerates me.
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Tell us the comparison between digital recording and analog recording.
They are two completely different sound approaches, two different sound worlds. Sometimes, where possible, I try to mix them to look for the ideal sound, thanks to my fantastic sound engineer Manu Saladino.
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Tell us how you record your vocals.
The vocals…have normally been carefully prepared before; I am very meticulous in this. When the piece is ready, from the point of view of the vocal interpretation I then leave a lot of freedom in the studio.
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Tell us the software you used mostly for recording.
Basically, I use Pro Tools.
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Discuss the selling of CDs and selling of digital files through digital stores.
Our choice was to produce and sell digital files. I believe it is a personal choice.
Of course, those who have a nice music system at home, I think prefer to listen to the CD in its maximum possible sound, I know some and have expensive music systems!
But currently people listen to music differently: in headphones, from smartphones, in the car, mind eating, cooking, walking … and technology now allows us to offer good quality music files.
The music must be enjoyed, used and therefore very popular dissemination and fruition systems are welcome. I have a house full of CDs, I don’t know where to put them, but now I don’t listen to them anymore…
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Elaborate on the song.
The song is the oldest musical form we know, Dante Alighieri also spoke of it in 1200 and there are traces of songs dating back to ancient Greece and the Sumerians.
More or less the structure has always remained that, of course, you can introduce more or less fanciful news, but the balance must be maintained, without balance everything collapses.
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Elaborate on your artist name and the title of the album.
Ensemble Voyagers: Because ideally, we are time travelers.
We live in a world and in a time of multiple and heterogeneous musical traditions: it is, therefore, important to know the history to root the future. There is no univocal direction towards the future: there are pluralities of historical and temporal ramifications that go both towards the past and towards the future and that branch out into the present. There is an “open” time, multiple and heterogeneous. The “tonal” and temporal center of each moment is each of us, with our own awareness and perception.
An Ensemble without borders was therefore needed because there are no frontiers in music.
Music is dialogue and confrontation and has the ability to combine minds and emotions without fanaticism, helping to renew one’s identity.
It is also vital to get out of academicism with an overly formal and almost ritualistic flavour that mainly engulfs Western European culture.
Two Songs from Okinawa is just what the collective contains. An “objective” title, like the label of a product at the supermarket but with a slightly archaic, dreamy flavour, two songs recovered from the dream…
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