“A poetic and modern form of forgotten things like real emotions, a clearly defined music structure where the voice is like a second instrument”

Band  Interview Roman Rütten & Lory Fayer Germany / Italy


Mary Vareli: When did Silentport start? Roman, it is your first solo project, how many sessions musicians / collaborators does it have?

Roman Rütten: No, it is not really my first solo project. Before Silentport, I had a project with a Portuguese female singer, it was called “Lamento”. But it never came to a real result. After this cooperation, I thought  “let’s do something just on my own”. I started writing lyrics. Lyrics about the deepest things I had never thought of being published. And I started singing. It still has to do with a lot of self-esteem. It is hard to come out of the shadow of Endraum. It was the feeling of being totally naked. Like a new-born baby. So I decided to do everything by myself. After some remixes by the internet (Stillife, Mnomized …) I got into contact with Lory Fayer. She was and is a very old Endraum fan and it was fantastic for her to start a collaboration with me. So I started to use here wonderful poems. And the idea was born, to start with an album in the English language and only the poems of Lory. By that time Lory had put me in contact with Laura Agerli,  from Italy. So I started to sing a duet. A wonderful experience.

How do you personally define the type of music you create? What does the name imply?

Roman Rütten: I would define my music as a poetic and modern form of forgotten things like emotions. Real emotions. A clearly defined music structure where the voice is like a second instrument. The music I compose is, and I can watch back onto 34 years of individual compositions and attempts to find the own way. Maybe you can call “Silentport”  a transporter for deep, unspoken desires. So it is a silent port where everything unexpected will find a place.

Tell us about the instruments /equipment you use. In which genres would you categorize your music? What are your influences concerning music?

Roman Rütten: My main instrument is the piano. I am composing everything on it. I am composing songs in my head because I have the sound, the melody, and the full arrangement in mind. The piano is maybe something like my deep and personal voice. It is a link between my thoughts and the reality.
And I am using a lot of samples from post-punk bands to keep their spirit alive. All the string arrangements are like a filling part. Not as important as the piano parts. I love every single note of the piano. Sometimes it is enough just to play two or three notes on it. It is like a sun rising in the morning for me …
And I feel my musical development is very close to the early 80s. So I try to keep the sound of this era alive in my arrangements. Sad Lovers and Giants, Joy Division, New Order or Siglo XX are very influential bands, even today.

Any lives or albums planned?

Roman Rütten:  About a live concept … it seems, for the moment, too difficult. I have not the strength to do it right now. But I I am thinking about it. Maybe after the release of my first CD at the end of this year. It will be released on Weisser Herbst together with the other project called “Opfer der Hingabe”. I will start slowly to wake up my label. But at first, I am thinking of projects, not  “real band” attitudes.

Did you belong to any other bands in the past besides the Foam Of The Days, Endraum, Crux Ansata, Lucid, Del Cam, Lamento, Lago and Opfer der Hingabe? Tell us a few things about each project.

Roman Rütten:  Foam Of The Days (1981 – 1990)
This was my first and most experimental project. It was a mix of industrial attempts and the wish to do pop structures. But with less equipment than today, so I started with two tape recorders one was playing and the other recording. And I was playing live between those strange machines. And I have used a lot of records as samples from my childhood. Like Wald Disney samples from Aristocats or samples from old horror records like Dracula …

Crux Ansata (1987 – 1990)
Was originally two-man show by Hovi (Endraum) and Alex (Void). At a party, they heard my piano playing and it was a musical love at first sight. They asked me if I will play keyboards in their band and here we were … a drummer came and and and. We have done a lot of live gigs. Because the music was live. Very close to the spirit of JD and the musicality of New Order. So it was for me the real home of my personal post-punk area. But not for a long time. So I recognised that there must happen something more. Something more than I could imagine. Something new. Something unspoken.

Endraum (1989 till today)
And here we are. The unspoken got a name. Endraum. A picture of nothing and everything. German language. Extreme dark and poetic. Maybe for me the link between a romantic soul and a hard reality.
After 25 years of working together. Ups and downs. The force to create with every release something new forced Hovi and me into a break. But we are still alive. And we will come back.

Opfer der Hingabe (1991-1992 … reunion from 2013 till now)
It was and still is again a cooperation between Dieter Mauson from “Nostalgie Eternelle“ and me „ Endraum“. With ODH we have made the attempt to find a new electronic, EBM style with influences of both bands.
Since 2012 we started again. We have now prepared a full-length CD and we are working for small live gigs.
A new thing for me because I am playing the bass guitar like I am doing it with Silentport. Very close to the style of peter hook. So that’s my part to keep the past alive.

Lucid (1993)
This project was my first big attempt to get a contract with a commercial project.
It was the mix between dark and melancholic statements mixed with a commercial background. Very atmospheric music based on a kind of trip-hop beats. Laura Carleton was the female singer and she came from the professional opera style. But at the moment when the contract was ready to sign, I think it was Sony music, Laura got back to her roots and cancelled the contract, life can be like that…

Del Cam (1996)
Was the second project I tried to become commercial again. With Cibele De Silveira, a Portuguese-speaking woman I was elevated. We were totally influenced by bands like Massive Attack, Tricky and a lot of new stuff from the ninja tunes label. But also here I had the same problems. The singer stopped the project because there was not the expected success during those two years.

Lago  (2001 – )
Is one if my “fun” and relaxing projects. But I stopped it now because of too little time …

Lamento (2007)
Wonderful project with a Portuguese female singer. Very melancholic but without the power to go forward. She stopped and that’s the reason why I started with Silentport. In my case, it is now easier to be my own strange vehicle to go forward.
In the end, in retrospect, I can say that it is very hard to find people with the same aim like me, with the same spirit, the same strength to keep it working. I believe that most of the singers I used to work with, were waiting for me to be the head, the engine … the whatever …

How did you two meet, Lory Fayer and Roman Rütten?How did your collaboration start?

Roman Rütten: I think it is quite simple. By facebook. Lory told me that she likes Endraum a lot and that she writes poems. And here we go. For me, it was a fantastic thing to see how she writes her poems. With an unbelievable power, an inner force to break out, to open unspoken thoughts and words. For me it was a clear thing: here you will find something more than just lyrics … poems. Magical poems and the chance to give them life. To make them true, to give them the light of life …
It is also the other thing, the thing I need as a musician;  inspiration. Visions, pictures. Feelings … like notes on my piano.

So that is the deepest part of the poems by Lory, she reaches my inspirational vision, a force to translate words into music. And I would say that through her poems and the very close contact I learned to find back to my personal music. Music I am doing for me, for my soul, for my feelings.

So the thoughts and visions of Lory are very close to my vision.
And it is very important for my creativity to have pictures, something touchable, something I can catch! I hate it to let things fall, to send them into darkness. My way of musical life is to bring things back into light. More or less light … but into light.

Lory  Fayer:  It all happened on the net: I have been a long-time Endraum fan, so when I found a Silentport track on a Snowflakes compilation I followed the link imagining to find some more tracks (at that time I didn’t know that Roman kept on playing after the Endraum’s split) and instead I landed on his facebook profile.

As in the ‘90s I had another collaboration as lyricist with In My Rosary, I told him about this and showed him some of the lyrics I wrote; he liked them and asked me if he might use “I can’t take time”, our first track together that appeared on the “Modified by Inertia” compilation.
At the beginning I wasn’t thinking that our collaboration would have lasted after that track, as for me it was somewhat really astonishing to have even a single track collaboration with an artist I had been fan of, but as Roman likes my lyrics and I adore how he puts them in music; nevertheless, our collaboration keeps on until now with mutual esteem and great satisfaction for the result.

Lory, what inspires you to write lyrics?

Lory Fayer: I have several inspirations, that changed across time; when I started to write, many years ago, my dream was to write lyrics close to Ian Curtis’ ones; then with t time, I think that my personal experiences, feelings and points of view came out in my poems… Sometimes I start to write after a sudden thought that I develop; one of my dearest subjects are dreams, and how often they crash or are wiped out by reality; as I am also interested in esoterism sometimes I try to imagine the afterlife, the other spheres, describing them the way I imagine, “I feel, I guess” they are: a better place, maybe the place where dreams dwell; and where some obsessions that haunt me – like the passing time, the idea of getting old, the fear of not having enough time to do all the things I would like to – will fade in front of Eternity.

Lory, how would you personally describe your collaboration with Roman?

Lory Fayer: If I with, it in one word I would say “empathic”; this is the most precious and rare thing to find… I had several other collaborations self-esteem internet has been like a door opening to the whole world, so sometimes, above all at the beginning, I have had a frantic quest for collaborations, probably because to find music for my words has been a desire that remained dormant for too many years in the past. Some of those other collaborations turned out to be very good and fruitful, while others ended up with disappointment or “by themselves” as I find that the music didn’t fit with my words; in a couple of cases, it finished also with bad arguments. Roman, on the other hand,  plays a music that’s close to the one  I would probably play if I would be able to play an instrument, a perfect sound mirror for my words.

Are there any other influences, besides music, that appear in your work or in your inspiring process?

Lory  Fayer: I have always regarded the new wave as an “intellectual movement” where, at least in the ‘80s, people shared a sort of common culture not only a musical taste: books and authors that I think almost everybody in that scene had read, like 1984 by Orwell, or authors like Mishima and Bukowsky, just to mention some of them; and I think that this influence is present in my darkest, existentialistic lyrics. I always loved  poetry, in particular, the French Damned poets, Rimbaud above all; he had the gift to make words become “alive” and he has always been an unreachable example and Master for me; I love also the introspective and deeply emotional poetry and prose of Kalil Gibran; it might sound pretentious, or even blasphemous, but I try to put the same force and the same emotion of those great ones in my words. As for painting, I had a predilection for surrealism and Dalì in particular, but I don’t think it comes out in my lyrics, at least not in a conscious way, even if their ambience is often out of the real world; in my “surreal” imaginary world. About movies, I have always had a predilection for the science fiction and fantasy genres; maybe it’s not a fine intellectual taste, but I think that somehow it’s connected to my  love for daydreams and desire of evasion, for this I have always been charmed by other imaginary worlds, so different from the one where we are living in; so maybe sci-fi movies can be close to some of my lyrics, like “Parallel Universe”, even if that lyric has a more intimate, personal approach than a sci-fi movie or book.

What is your opinion about label practices, what type of bands are mostly promoted or survive in the music Industry?

Lory  Fayer: Focusing on the niche to which I think we belong, I think that the difference between the ‘80s and now is that there aren’t today many Ivo Watt Russel or Tony Wilson around; men who made the name of their label  a warranty of taste and  a certain style; today sales are low, but finally I remember the LPs I bought in the ‘80s with the statement “home taping is killing music”; nevertheless music survived to this, as I think it will survive  the digital age. I feel like labels, with few exceptions, care more for “the known name” than for the music, so often you can come across self-productions better than the releases of many labels… but many of those self-producing musicians don’t know how to promote their works, so maybe they can’t reach the public. It’s sad because I think that niches should be for passionate ones and that everybody should keep it in mind, while too often you find micro labels owners that behaving like businessmen, or even musicians with a CD out that act like superstars; and that, in my opinion, in the mid – long term becomes a boomerang, because it wipes out the friendly atmospheres that should be the basis of any alternative niche.

Roman, tell us about the “Weisser Herbst Produktion” label you founded in 1994.

Roman Rütten:  WHP was founded after a period of horrible times working together with the German “Danse Macabre” label were Das Ich was doing everything. For Endraum it was very hard that everybody was trying to fit our music into a formed style, to say something concrete with Endraum’s music. Hovi and I felt like slaves in a strange, independent gothic system where we have never really belonged to. We always have the spirit to be free, to be as we are. So we decided to start everything again on our own. We are very inspired by factory records and 4AD. So Weisser Herbst is the idea to create something unique. In the past I think we were very close to this unique idea, to promote artist with something special, with something very individual. For today I think it is very hard to go on with this unique spirit. A lot of bands are on the marked. It is something I would say “overdone”. To find something special today is nearly impossible. Everybody is doing music. Everybody makes it for free. And to find and to establish in this “jungle” of millions of musicians, labels, internet platforms like Bandcampa unique etc. your own and individual place of artificial music.
We go on with Weisser Herbst but the aim is not definitely clear. For the moment I am starting at a zero point. I have done a totally reset with everything, with label activities, music and new bands.

The future of Weisser Herbst could be to release thing in special editions together with the possibility of download platforms.

I want you to make a brainstorming regarding your general attitude to living, creating and developing as an artist /composer / lyrics writer.

Lory  Fayer: For me living is more a challenge to find a balance between the things “I have to do”, like most people, and what I like to do, the attempt to find the time for something agreeable, making life worth living and not just a biological act of surviving. Creating, in particular writing, for me is a way to express myself, probably some side of me that I don’t like too much to expose in the “ordinary life”; beside this, music and art in general are a great chance to meet same-minded people, that are the most meaningful ones to me.

You joined the Paradox Ethereal art group/magazine and have contributed to it a lot, what made you realise you belong there?

Roman Rütten:  The ethereal art group seems for me a very good way to find a platform for very deep and emotional things. Everything in music which works together with art, paintings, lyric and music seems to have a place in this online Paradox Ethereal magazine. This is for Lory and me a good start to show to a very special public our first cooperation between poetry and music.

Lory Fayer: Well, first of all, because I think that you, Mary, believed that my poetry was good long time before I did…. I don’t know why but I always wished more to be a lyricist than a poetess; I think that the right music amplifies the feelings of words. Before the internet, for me it has never been easy to have musicians to have collaborations with, and I was more used to get refuses than offers. I have even been in couple for more than four years with a musician who never used a single line written by me saying that he “didn’t feel my words like his own”, so I was astonished by your offer of publishing some of my poems on Paradox Ethereal Magazine and even more by the numbers of readings that they had there. For the same reason at the beginning I found it unbelievable that Roman liked and used them; sometimes everything still looks like a dream; so I have a special affection to both Paradox Ethereal Magazine and Roman, and I think that a lot of my self esteem,  the fact that I start to regard at myself like a poetess (or a lyricist, as I still prefer ) is due to this , so for me there is and there will be a special gratitude to Roman and a special legacy with Paradox Ethereal Magazine.

Tell us about the Silentport EP “Words from the Silence” your first EP, that is released along with Paradox Ethereal Magazine, distributed free to fans of Silentport.

Roman Rütten: Lory and I have chosen very deep songs. It is the first attempt to bring my music and the poems of Lory into light. Not a whole cd only a brilliant selection of rare and deep emotional tracks. Words From the Silence is for us the first possibility to present Silentport and Lory in a new and very professional light. Among all songs, there are stories about the inner loneliness, the attempt to find an end for all and maybe a filigrain hint on how to survive in this very cold and mechanised world. Words From the Silence is a view insight of two artists far away from each other with a very unique soul. Maybe you can understand Words From the Silence as a desire never drowning from the past, transported into the presence and a way of life for the future. A way to take care of ourselves, a look behind a cold curtain of a cold and fast society.

Lory Fayer:  I think that the whole EP turns around the title track: the words, the dreams, the hopes so cherished that we prefer to hide within the silence for the fear that they might fade or would be misunderstood if revealed, and the unbearable feeling of being naked and vulnerable in the rare moments when the inner side comes to light. The unspoken words from the silence are usually about something desired or dreamt for a long time, for this reason, I regard this track as a sort of the key for the rest of the EP, that represents just some of the endless ways that could fulfil the wishes dwelling in the silence; it might be a love or a soul elevation through art; a bit like the one evoked by the Baudelaire’s poem; as often artists look for an elevation, a transmutation, a connection with the inner spheres where dwell the muses and the High Spirits, like the  “Lady of the Night”, that is the Moon. I wrote that lyric the day of the red moon having in mind “The Sea Priestess” by Dion Fortune and all the symbolic and religious meanings connected to the moon; it’s like a plea to keep alive our “lunar side” the insightful, mystical, dreamy one; the last lines are a reference to “Isis unveiled” who takes off the veil to reveal all the Mysteries to the dead ones, because death is the final destination of each human journey.

Roman and Lory, how do you imagine yourselves in five years from now concerning Silentport?

Roman Rütten: For me, it’s all question of inner “fun” how things develop. I think in five years so much can happen. I hope to be able to play live with Silentport with a very close group of friends from everywhere. So I am always thinking of short steps. The first step is this participation in Paradox Ethereal magazine. The second step will be a CD completely with the lyrics of Lory and the collaborations with Laura Agerly . The third step will be a CD with all my German songs and the lyrics created by me.
You see everything is possible.

Lory Fayer:  I imagine this collaboration to last, for five years and even more, hopefully with some official releases and artistic acknowledgement. This is a deeply emotional project and I hope that one day it can cross the musical genre borders to reach all the people able to feel the emotions within a song. For me art should always be about emotions, otherwise, it would be just an empty exercise in style.
This is also one of the reasons why I am so glad to have our EP featured with Paradox: I think your public is composed by various art lovers, so it’s both a way to say you “thank you” for the support you give me at my beginnings and at the same time an attempt to stretch beyond our circle, hoping that who reads the magazine might also enjoy Silentport songs.”

Thank you

Roman Rütten:  Thanx to you for your help to bring Silentport forward!


CONTACT

Roman Rütten
https://soundcloud.com/silentport-silentport
https://silentport.bandcamp.com
https://www.discogs.com/artist/3500501-Silentport

Lory Fayer FB:
https://www.facebook.com/iansdougher


silentport
“words from the silence”
EP 2017

free download of SILENTPORT EP, exclusively released with issue 14

May 2017 -all rights reserved

The EP starts dynamically with the alluring piano theme of  Words From the Silence. Laura Agerli (LadyGhost), together with Roman Rütten in vocals, cast a sirenic spell to the listener, who, being lost in the seductive lyrics of Lory Fayer, is left asking for more silentport.

The journey goes on with Lady of the Night, full of haunting vocals; a mesmerising, rich composition, possessing a strong narrative and a theatrical sense,  enriched by the beautiful lyrics of Lory Fayer that add their magical touch full of genuine sentimentality. The voice of  Bjarkan Wolfsdóttir combined with that of Roman Rütten creates a mystical atmosphere, almost evocative.

By all means a very powerful track.  Love Like a Deliverance follows; a melancholic track, introspective and nostalgic, truly poetic and unapologetically flourishing, it paces the way for Transmutation’s vocals by Roman Rütten. Unlike in Love Like a Deliverance,  the vocals are less wistful and equally dreamlike.

A powerful EP, worthy of this rare artistic collaboration.     MV

All tracks were written and composed by silentport / Roman Rütten in 2017
The lyrics are by Lory Fayer
Vocals by roman Rütten/silentport
Vocals on “lady of the night” by  Bjarkan Wolfsdóttir
Vocals on “words from the silence” by Laura Agerli (LadyGhost)

TRACKS  (download link)

1. Words From the Silence
2. Lady of the Night
3. Love Like a Deliverance
4. Transmutation

Recorded between 2016 and 2017
@ weisser herbst studio fm
weisser herbst produktion, 2017
all rights reserved
contact: [email protected]

further information:
www.facebook.com/silentport.silentport
https://soundcloud.com/silentport-silentport


Click on images for a slideshow of the magazine pages, then follow the arrow


 

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