Hi Nicolas and Gwenn, thank you for doing this interview. How are you doing?
You're welcome. We're quite busy but very well, thanx :)
Can you give a brief introduction to Tzolk’in?
Tzolk'in is a instrumental project influenced by ancient pre-Columbian mythologies and civilizations. The name refers to a ritualistic Mayan calendar, which was re-used by the Asztecs and nearby civilizations.
How did the both of you met and how did this lead to the start of Tzolk’in?
We met at a concert evening in Paris. We were introduced by a common friend who said we might like each other's music (Empusae & Flint Glass). And so we did! We stayed in contact and became close friends. Being fan of each other's music, we decided to create music together. We chose the concept based in our passion for ancient civilizations and mythologies. Tzolk'in was born.
Can you give us a little insight of the creative process of Tzolk’in?
First we talk about an album theme which we might work on. Once decided, we both start reading and researching the subjects to influence the inspiration. During that process, the composing of the music starts and becomes more and more concrete. We try to interpret the knowledge archived before through sounds, sonic atmospheres, structures, melodies and rhythms.
Do the both of you divide tasks? Who is responsible for what?
We don't have a specific task designation. We both start working on our own sources, send it to each other, so the other can complete, structurize and finalize a track. I guess you can recognize some more specific Flint Glass or Empusae elements but we both work on the same elements of Tzolk'in.
When working on Tzolk’in together what elements of your other projects do you bring to the table?
I think you could see Empusae and Flint Glass merging together in a pre-Columbian whirlpool. In our respective projects, we both use soundscapes and electro-acoustic rhythms. Both projects as also in Tzolk'in are filmographic. I guess the melodic parts come from Empusae and the dark, organic and realistic sounds come from Flint Glass.
Being in a creative process together is often having a chemistry, what is the chemistry between the both of you?
First, we have a very close friends, on a personal level and we share the same interest in music and beyond. When listening to our solo projects, I think you can hear a lot of similarities. We both have a passion for filmographic, dark, tribal and ritualistic elements in music, which makes us able to work on Tzolk'in so fluently and with so much joy.
Both of you are having several projects, what is the reason you have several different projects?
Because each project has its own identity and concept. We both love to work with artists we really appreciate, so when we have the opportunity, we jump on it.
Do you know when you start working on a song for which project it is or do you decide later?
Sal-Ocin: Yes of course. I work on every project on a certain point of view, depending on concept, inspiration and of course, of who I'm working with.
Gwenn : Yes, it's the same for me, but sometimes, when I'm working on new sounds, I decide to keep more tribal sounding tunes for Tzolk'in.
What is the relation between all the projects?
The relation between them is the people involved in it and the passion put into it.
What triggered your interest in ancient south American culture/ mythology?
Because it was such a rich, advanced, enigmatic, magical and philosophical part of history. When studying these dead cultures, you discover so much amazing elements on very different levels of social life, religion, art, cults, philosophies, etc...
The previous album focuses on the Mayan calendar while the new one focuses on Azteken mythology, why this switch or is it no switch for you?
Since the beginning we've been inspired by the sun-god concept, who is in the centre of everything, which you can also see in the Aztec divine sun-calendar. The gods have been born out of mixture of things and forms created in cosmic order, which we developed on Haab'. It seemed logical to be inspired by the representation and significations of these gods around it.
Off all the possible gods, why did you choose Quetzalcoatl as the symbol for the album tonatiuh?
Quetzalcoatl is one of the primary gods in Mayan and Aztec mythology, even before these cultures, is was also found under the Toltec civilization. It appeared in Mesoamerican history under many names and forms. For the Aztecs he was related to learning and knowledge, wind and dawn, arts and crafts.
That made it clear for us to cover the album with it.
Where do you find the information to base your music on, and how do you decide what is useable ?
We find information mainly on literature we both posses about the subject. The things which made a crush on us both and inspired us on the highest level and had some coherence to work out on an album, build up the albums as they are now.
Are there other sources of inspiration next to the mythology for you?
Yes of course. we also studied their way of living, interacting as social identities in cities and tribes. Also their way of dealing with art, crafts, rituals, sexuality, nutrition, warfare and so on. We read as much as possible, to be able not to narrow ourselves only to the mythology, but also their interpretation of it and how it influenced their everyday social life.
Do you expect your fans to be capable of pronouncing your titles?
Well, all we can say is that the names are not "unpronounceable" or "forbidden", like we have in certain mythologies and religions.
Why did you choose to not give background information about the base for the songs on tonatiuh in the booklet off the cd?
Because what we do is a musical interpretation of what we know about it. Now it's the listener who can either look into the subject more deeply or not. As it is a long dead and still mysterious and enigmatic civilization, we felt is inappropriate to oppose what we think and see literally.
Do you make goals before you start the process?
The goal we have is the concept and subject of an album and tracks. From that point we both start experimenting with sounds, atmospheres, rhythms, melodies and structures. The music just comes to life from that moment.
When do you consider an album as a success?
Success is a bit a strange word, considering our purpose. Success usually refers to something commercial. We don't deliver a product, but a personal, mutual creation. But the fact that we have such a great response for what we do, makes us very happy men. Tzolk'in is still very personal for us, so when we hear that people enjoy it and even share the same passion, is a delight!
How do you find the balance between ritual music and keeping it danceable?
Actually, we're not really think of these elements as conscious as it might seem. The ritual element comes quite natural, due to the inspiration and sources we work with. The danceable part is result of our love for rhythms.
What is the prime focus, the atmosphere of the music or the rhythmic part?
For us, we don't see these as separate. We see Tzolk'in as atmospheric music of course, but rhythms are just a important part of it (at least in this project).
What is the goal off your music, what do you hope your music conveys?
The only goal we had and still have is expressing ourselves about what we're passionate about, in a way we have passion for. Also for the sake of creating something together and sharing it with others is our main prospective, nothing more.
How important is it to bring new elements in music?
That also is not something we think of deliberately. New elements come naturally as we evolve as human being and musicians. Also depending on the subjects we work on, we insert different elements into the music.
How do you see your typical listener?
Someone who has a passion for atmospherical music, who loves mysticism and who is open to foreign, ancient mythologies and civilizations. Dreamers and emotional people.
What are the best moments to listen to Tzolk’in?
The same as for Flint Glass and Empusae: alone in the dark, with headphones, when completely relaxed and without time-pressure...(maybe with some Octly, Mescal or Tequilla).
How does the music of Tzolk’in live differ from the studio version?
On stage, we add acoustic live-percussions and electronic sonic additives.
Can you describe how you experience a live show? What is your state of mind?
A concert of Tzolk'in is very dynamic, organic, danceable and still very atmospheric. We both (and usually the audience also) become very much alive and into trance. It is, at least for us, a very unique and intense experience!
What will be next for Tzolk’in?
We'll do some single concerts in Europe. We'll start working on a new album after concentrating on our solo projects and other projects going on at the moment. But one thing is sure, Tzolk'in is not over!
Any last words for the readers?
Open your mind and submerge into ancient sonic mythology!
Will the world end at 2012?
The prophecy talks about the end of a cycle and the beginning of a new one. The Mayas saw the date of 21th of december 2012 as a date of rebirth, the beginning of a new world. It talks about "a movement of the planet". But is it the Earth who will be in movement or will it be a solar activity who will destroy the Earth? Some have interpreted the texts pure literally, other have studied is in a more complex interpretation. 2012 would be a period of transition, the change of an era to what the Mayas called "the age of Itza", age of light and wisdom which will bring consciousness on a multi-dimension level.
Our next album might ergo be more eluminated and cosmic to open this new era which will align the polar axis with the center of our galaxy!
Thanks for this quite interesting interview !
Gwenn&Sal-Ocin
www.tzolk-in.com
The interview was made by Jade and Ed