Hi Lies, thanx for doing this interview, how are you doing?
Thanx, I’m very fine at the moment! Me and my boyfriend just returned from a French festival concentrating on hurdy gurdies. We demonstrated some electric hurdy gurdies for a befriended hurdy gurdy builder (Jaap Mulder), which was very fun to do. We will bring those electric hurdy gurdies to Summer Darkness to use them for the first time live on stage!
Who is Lies Sommer and what does music mean for you?
Haha, who am I? Good question… Well, concentrating on my musical live: I play harp and hurdy gurdy in Orfeo, Kelten zonder Grenzen, Ball Noir and the medieval band Datura. I started playing the harp at the age of 10 and I took up playing hurdy gurdy 4 years ago. I also studied Celtic Languages and Cultures at the University of Utrecht. I hope to graduate one day, but music takes up all of my time at the moment. Making music means a lot to me, I’m busy with it every day. I also love to perform live and see people dance to our music, it gives a great energy.
You play harp and hurdy gurdy, what made you decide to start playing these instruments, it isn’t the most common choice for a young girl?
Actually, when I was a little girl, I always dreamed of playing bagpipe. There just wasn’t a teacher in my town and when I looked around and accidently tried a harp, I was immediately in love with the sound. I always fight against the image of the harp as some sort of ‘elven-instrument’ because it is much more than that, but still there is something really special and mesmerizing about the sound of a harp. Years later I discovered an organization that provided bagpipe and hurdy gurdy lessons. I signed up for the bagpipe, but the workshop was already sold out. So then they put me in the workshop of my second choice: the hurdy gurdy. After a weekend of playing I just couldn’t stop. Maybe I believe some things(instruments in my case) come on your path in a natural way and you cannot refuse them. They belong to you.
To master these instruments takes years of training, how was it for you? Did you ever had the feeling of quitting and what made you continue the lessons? What was your drive?
For the harp, I spend two years at the conservatory and it completely broke me. I decided to quit and to stop playing for a while. I sold my big expensive pedal-harp and worked at a telephone company for a while. After a year I took harp lessons with Jennifer van der Harten (from the band Omnia) and she taught me a different way of playing: folk music, not from music sheets, but by heart. It brought back my love for the instrument. After that a lot of inspiring workshops followed, for example with Bonnie Shaljean and Laoise Kelly (both in Ireland), Rheidun Schlesinger (from Amorroma) and Erik Ask Upmark(from Dråm) and I learned I could do my own thing, play my own music, without something being ‘wrong’ or ‘the wrong way’.
For the hurdy gurdy I followed lessons with the Dutch organization Draailier en Doedelzak for a year and after that I took workshops form Harald Bauwerearts (from Embrun), Gregory Joliver (from La Machine) and Gilles Chabenat. These people inspire me to learn more and at the same time develop my own style.
What bands or people had an influence on you, who are rolemodels?
I already named a few above, but to add to the list: Eric Theze (a fantastic bandoneon player, I followed workshops with him for a whole week), the band Embrun (I had lessons from all the individual band members) and also a lot of bands whom I greatly admire: My Dying Bride, Anathema, Pink Floyd, Therion, Loreena Mckennitt, Qntal, Valravn, Matthias Loibner, Familha Arthus, Hesperion, Jordi Savall and Arianna Savall, Marco Beasly, Osdorp Posse, Garmarna, Hedningarna, Gåte… mmmm well an endless list of music, to be sure!
You play in several bands, why is this? What are pro’s and cons for you in playing in different bands?
Well, it keeps you ‘fresh’ to be involved in different styles of music, in my case that is folk, balfolk, theatre, metal/electronics and medieval music. But sadly, playing in a band is not only making music, it is also writing a lot of emails, doing PR, planning photo shoots, contacting people, administration, making appointments and being on the road for long hours. And playing in different bands means I have to hold a tight grip on my agenda. But ah well, those are all luxury problems if you see what a great life a have, surrounded by all those wonderful musicians and being able to do what I love most. I’m very grateful for that!
What is your musical background, did you play in other bands before Orfeo?
No, Orfeo was my first band. When we started I had just discovered folkmusic. Most of the things about playing together in a band I learned from playing with Orfeo.
With three bands you play at the summer darkness festival, how will you manage to survive, how do you prepare for this?
I also play at the Folkwoods festival that weekend, so I can play 7 shows in 3 days, haha! It’s a lot and I hope to drink a lot of beer also. It will be fun!
On summer darkness you will be on a new instrument, what can you tell us about it, what can people expect?
The electric hurdy gurdy.. it’s quite a rare instrument and I’ve not seen many of it before. You can compare it with an electric guitar I think? It has no soundboard and no sound when you play unamplified. I also bought a new sound effect board last week, so I hope to make a lot of noise, but I still have to practice on that because I’m not used to use effects live on stage. The builder of the electric gurdy actually lives in our neighboring village. We found him on the internet, got together and found out we had the same sort of ideas about turning medieval based instruments into electric modern ones. He also made an electric dulcimer which is also really fun! I can only say: come and have a look on Saturday the 14th of august on Summer Darkness at the performance of Ball Noir.
I guess Orfeo is your main band, can you give a brief introduction to Orfeo?
When we started Oreo it sounded really sweet and traditional, but soon we began writing our own songs and through that I think we developed our own sound. We come from totally different backgrounds like medieval music, classical music and metal and these influences can still be heard today. The music is typically suitable for balfolkdancing, however, we also hope to be interesting for the listener. The music consist of beautiful melodies, but also sometimes a little soundscaping.
Orfeo is a band that plays ballfolkmusic, can you please explain what this is?
Ballfolk is some sort of modern folkdancing. The music is always played live and the steps to the dances are very easy. When you are more experienced, there are a lot of variations you can put into the dance. You can learn them in workshops or make them up yourself. There is always a special bond between the musicians and the dancers when you dance on live music or when people dance to your music, and that’s what makes it so energetic and interesting I think.
You started in 2002 with Orfeo, this year your debut album has been released, why did it take so long?
In 2002 we met at the Folkwoods festival and decided we wanted to play in a band together, just like all the bands we saw there. After that there happened not much. We discovered ballfolkdancing and danced a lot. Then we decided that would be our musical style. We learned to play ballfolkmusic at sessions. It was a new style for all of us, so it took a long time before we decided we were ready to perform live on stage. In 2005 we had our first gig. After that we played a lot and wrote a lot of music. In 2007 we recorded a demo-cd and in 2009 the recordings of our debut album began. We took a lot of time for it to record, because we wanted it to be really good. Also we paid a lot of attention to the lay-out and we developed a new website along with the cd.
What can you tell us about the debut album? (besides that it is printed on a silver disc) How did the recordings go, what is an easy process?
We bought some equipment and we build a recording studio in our rehearsal room. Rutger, our drummer, was also our producer, and we found out he’s really good at that! It is very different to play your music live or to record it. When you record, you look through some sort of looking glass and even the tiniest mistakes or errors are visible. We recorded a demo-cd earlier so we had a bit of experience, but for this album we were really conscious that everything should be as we wanted. The fact that we had our own studio was very nice, because we had more time than in an expensive studio.
Is the album a self released album and how are the comments on it so far?
Yes, it’s self released and comments are very positive so far! Not all people like our ‘modern’ way of approaching traditional dance-music, but on the other hand reviewers said we had the possibility to grow into a band of European importance. That’s very flattering of course.
Sometimes I miss vocals in your music, will you have tracks with vocals in the future or will Orfeo remain an instrumental band?
For now we have no plans for a vocalist, but if we should met one and we get along with each other, I think it could be a possibility. In Ball Noir we play with a vocalist and that works out really great!
Recently you started a new band call Ball Noir, what can you tell us about that?
We started the project in 2007, just for the fun and also because Marco and Rutger (guitar player and drummer of Orfeo), who were members of the late melodic metal band Eria d’Or, missed loud music. We recorded a mini-demo, but after that all the members were busy with other musical projects. Because people were still listening to our songs on myspace and kept asking us to perform live, we decided to get together again and to rehearse. There is a tremendous group dynamic between all of us and we wrote a lot of new material, which is not yet on myspace. We are looking forward to introduce ourselves to the world.
When listening to the music it reminds me of old My Dying Bride, are bands like that of influence?
Yes, indeed! We all grew up listening to MDB and we still listen to it. It’s amazing music and it’s an honor you mention this. We are also influenced by old Anathema, Opeth and for example newer music like Amaseffer.
What is the secret in finding the balance between metal music and folk music to make it work for Ball Noir?
Haha, giving away our secrets, eh… Well, maybe it is hard to answer. I think we write metal music, but with the pulse of dance-music. Because some of us are experienced balfolk dancers, we always keep one eye on the dance and one on the rhythm. Rhythm of very important for balfolkmusic to dance on. If we have the good rhythm for a particular dance, we let our creativity do the rest. And then this is what happens…
The third band that you will play with at summer darkness is “Kelten zonder grenzen” which is normally more focused on theater. How will you translate this to make it fit at the festival?
When we started we made musical theatre. We told Celtic stories and accompanied ourselves with harps and the hurdy gurdy. Because people liked our music so much, we developed a show with only music. After that we asked Renske to play violin and Rutger to play drums with us and now we are a band. So on Summer Darkness we will perform as a band. We also make music suitable for balfolk dancing.
Also Kelten zonder grenzen released their debut album recently, can you explain the funny title and why it fits the album and band?
We laugh a lot with each other. Our laughing fits are even notorious. A while ago we went to Terschelling (a little island in the north of Holland) and there we had our longest laughing fit ever measured when I thought I saw a rabbit. Thereafter we used that phrase again and again to instigate more laughing fits. So that’s why we named the album after that happy event: “I think I see a rabbit”.
What can people expect when they listen to the album?
All songs (except for one) are our own compositions. With two harps we are bound to sound a little sweet, and in fact we do, but we also tried to make more energetic songs by adding drums to some of the tracks.
Does it feel different for you whether you play with Orfeo, Ball Noir or Kelten zonder Grenzen or is a live show just a live show, no matter with what band?
It is different in a way. Every kind of music has its own feeling and atmosphere. But also when you play with other people there is a different understanding and a different vibe going on. But in a way it is also the same. Live performing is very powerful. I put all my energy I it and at the same time I get a lot of energy back from the musicians and the audience around me. I always feel very vibrant and alive on stage and after a show.
What will be next for you, or any of the bands?
Both Orfeo and Kelten zonder Grenzen just released their debut-albums. We still have to send them around and we hope to play on a lot of nice festivals next year. For Ball Noir we might work on some new recording this winter. Maybe a full-length album? Who knows. For me I hope also to record an album with my medieval band Datura and, since I bought a new instrument last week (a medieval shepherd’s pipe) I will practice on that. And of course I hope to write a lot of new music, that is a process that is ever going on.
Any last words for the readers?
Please be not deceived by the fact that we play music for balfolk dancing. Even if you’re not a dancer, we hope our music will be of interest. Let the music come to you and let it touch you in your own way. Be free to dance your own dance or just listen and drink a beer.
Summer Darkness, here we come!!
Lies - www.myspace.com/liesjeliesje
Ball Noir - www.myspace.com/ballnoirproject
Datura - www.artika.nl/startdatura.html
Kelten zonder Grenzen - www.keltenzondergrenzen.nl
Orfeo - www.orfeofolk.nl
Orfest - www.orfest.nl
Picture credits:
Ball Noir: Lisa Moerland
Kelten zonder Grenzen: marcel bakker
Harp: Arthur Koek