Skip to main content

Simon Fisher-Turner - Portrait of the Artist as a Consumer

Simon Fisher Turner is a composer and musician who recently appeared at Tramway, Glasgow, performing at Alexandre Perigot’s exhibition, Pipedream, inside a life-size recreation of Elvis Presley’s former home, Gracelands. Fisher-Turner’s first album was produced by Jonathan King, and he later worked with Derek Jarman, composing soundtracks for The Last Of England, The Garden, Edward II and Blue. He briefly played with The The, and has released a string of albums under a variety of names, including his own. He provided scores for Croupier, directed by Mike Hodges, and was nominated for an Oscar for Anna Campion’s feature, Loaded. His most recent album, Lana, Lara, Lata, was released on Mute Records in 2005


How did you get to Gracelands?
I’ve worked with Alexandre for a few years. He comes up with these crazy ideas I half understand, then go and do something with them. We once did a project called Fanclubbing in a deserted arts centre in Marseille, and by the end we had a whole album. This is the same. It’ll be noise. No noise. Some noise. In one way or another it’ll work, but I can’t guarantee what it’ll sound like. It’s kind of like plunderphonics, using stuff from all over the world, so it tends to work at the drop of a map.

Film soundtracks, art projects and dance scores. Your music lends itself to other arenas. Accident or design?
My life has generally been an accident. I’ve never had a grand plan and I’m always stuck for ideas. I’m incapable of doing the same thing twice. It’s not in my personality to repeat myself. I can’t even remember lyrics. I’ve got no idea, because I’ve got no ideas.

Lana, Lara, Lata works with sound in relation to colour. Brian Eno has produced similar work. Ambient or just obscure?
I’m never sure about ambient, but I’ve an idea for an album. There’s a restaurant I go to in London, and Harold Pinter’s always in there. I always hear him talking to people, and he has such a distinctive voice I thought I’d tape him without him knowing until I’ve got all these recordings, then do something with them. No-one has to hear him clearly, and no-one has to know it’s Harold Pinter, but his voice is so intriguing it’ll be a good place for me to start thinking about things.

Musical epiphanies?
Terry Riley, David Bowie, The Sex Pistols, Throbbing Gristle. They changed my life. I’ve also seen everyone you’ve never heard of. My first gig was Stray and Rare Bird at The Record Mirror Olympia Festival. I saw The Sex Pistols at the ridiculous Screen On The Green show. Johnny Rotten was amazing. The first time I saw Throbbing Gristle I was terrified and wanted to run away. Seeing them at The Tate recently I wanted them to be unbearable again, but it was so listenable it was ridiculous. Now I listen to Throbbing Gristle while I’m washing the floor.

Choir boy. Child actor. Teeny-bopper idol. Growing up in public?
I was in this BBC series called The Silver Sword. One of the actors introduced me to Jonathan King, and Jonathan must’ve thought, ‘pretty young boy, blue eyes, blond hair. Let’s make him Britain’s answer to David Cassidy.’ It didn’t work, but when you’re 15 years-old and someone wants to make an album with you, it’s amazing. It was awful, but it was fun. I was on telly a lot, and chased by girls who wanted to sleep with me. There was no AIDS, and it was a very promiscuous time. There was a lot of sex. With girls. It’s the same today, whether it’s with Take That or any of the new guitar bands. They’re all manufactured.

Your soundtracks for Derek Jarman again bridged the visual and the aural.
It was punk time, and everything was wide open. I’d just been The Green Cross Code boy on three public safety ads, didn’t have a job, and ended up working on The Tempest. You put Derek’s visuals in front of you, the like of which you’ve never seen before, and he gave you the space to do anything you liked.

What new music are you listening to?
The new Bjork album’s fantastic. Alva Noto, which is Ryuichi Sakamoto and Carsten Nicolai. I still like my minimal electronics, but too much of it isn’t a good thing. Cocorosie’s album’s good. There Thaemlitz is a transgendered guy who lives in Japan and does this stuff called Fag Jazz. He can’t play, and it’s all wrong, but it’s the most exciting electronic music I’ve heard for years. But I’m not a purist, and I loved The Beatles Love album. As Derek said, who cares about old buildings? Pull ‘em down and build ‘em new ones.

Seizing the means of production?
There’s a lot of experimental and ambient stuff, but a lot of it is very bad. You can tell what equipment everybody’s got. There’s a lot of people making music now who shouldn’t. As soon as someone does something new now they give it a name. Glitch? Who cares?

What art do you have on your walls?
I’ve got a piece by Barry Flanagan, who sculpts these awful bronze leaping hares, but I’ve got some plain monochrome canvasses he did in the 60s. I’ve got two kids, so I’ve got a lot of their pictures on the wall. I wish I had one of Derek’s paintings, but he’s given me enough already, and you can’t have everything.

You’ve recorded as The King Of Luxembourg, Loveletter, Monday Sinclair, Deux Filles, Jeremy’s Secret, Bad Dream Fancy Dress and Kendall Turner Overdrive. Who’s Simon Fisher-Turner now?
I’m lost. Lost in fatherhood. Lost in producing a new album. Lost with technology. I tried chopping up everything I’ve ever done, and made a 45 minute collage of my musical life so far, but I’ve not done anything with it yet.

Favourite Elvis song?
Heartbreak Hotel, but that’s because John Cale’s version was so good. Elvis’s voice was amazing, but what a beautifully mismanaged man.

Simon Fisher-Turner will be taking part in The Istanbul Biennial with Alexandre Perigot in September

www.myspace.com/simonfisherturner

MAP issue 11, July 2008

ends

Comments

Popular posts from this blog

Clybourne Park

Adam Smith Theatre, Kirkcaldy Four Stars
It’s a case of whoops, there goes the neighbourhood twice over in Rapture Theatre’s revival of Bruce Norris’ Pulitzer Prize-winning play, which opens in 1959 in the same Chicago suburb where Lorraine Hansberry’s drama, A Raisin in the Sun, which appeared that year, is set. Here, Robin Kingsland’s Russ and his wife Bev, played by Jackie Morrison, are preparing to move out of their now almost empty des-res following a family tragedy.
Unknown to them, the bargain basement price tag has enabled a black family to move in, with Jack Lord’s uptight Karl a self-appointed spokesperson for the entire ‘hood. Russ and Bev’s black maid Francine (Adelaide Obeng) and her husband Albert (Vinta Morgan), meanwhile, bear witness to a barrage of everyday racism. Fast forward half a century, and a white family are trying to buy the same house, albeit with a heap of proposed changes which the black couple representing the block’s now much more diverse community aren’t…

Michael Rother - Sterntaler at 40

"There's so much to do," says an uncharacteristically flustered Michael Rother. The normally unflappably beatific German guitarist, composer and former member of Neu! and Harmonia, who also had a stint in a nascent Kraftwerk, is packing for live dates in Russia and the UK, including this weekend's show at the Queen Margaret Union in Glasgow.
"It has always been my choice to take care of these things myself and not have a manager," he says. "Somehow for me the independent aspect of doing things is really important, but it has its disadvantages."
As well as playing selections from Neu! and Harmonia, the trio he formed with Dieter Moebius and Hans Joachim Roedelius of Cluster, Rother's Glasgow date will see him play a fortieth anniversary rendering of his second solo album, Sterntaler, in full. Rother will be accompanied by guitarist Franz Bargmann and drummer Hans Lampe, the latter of whose musical involvement with Rother dates back to Neu! days, …

Kieran Hurley – Mouthpiece

Things have changed since Kieran Hurley first began writing the play that would become Mouthpiece, which opens at the Traverse Theatre in Edinburgh this weekend. At the time, Hurley was, in his own words, “quite new on the scene.” As a writer and performer, he had already scored hits with Beats and Chalk Farm, two pieces that put him on the map with a new generation of theatre-makers steeped in an equally new wave of grassroots opposition that drew from the iconography of revolutions past. Where Beats looked at the politicisation of 1990s club culture, Chalk Farm, co-written with AJ Taudevin, focused on a teenage boy caught up in the 2011 London riots.
More plays followed. Some, like Heads Up used the same solo story-telling aesthetic to look at an everyday apocalypse. More recently, Square Go, written with Gary McNair, dissected toxic masculinity through a school playground fight.
All the while as Hurley developed as a writer, from new kid on the block to established provocateur, this…