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Shingai Shoniwa Interview

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In the week leading up to the eagerly awaited release of the Noisettes third album Contact, we caught up with one half of the duo. Lead singer and Bass player Shingai Shoniwa spoke to Music-News to discuss what her and fellow band member Dan Smith have been up to lately.

Read on as we endeavour to discover what really makes the Noisettes tick.

Music-News: Your single That Girl has just come out and your new album Contact is just about to release (on the 27th of August), how are you feeling?

Shingai: I can't quite describe the feeling. I feel quite hazy and dreamy about it all really. I want to celebrate it now because I feel like I have spent so long talking about it. I just want to release the bird into the sky. I feel like everything has been caged up. I've been talking about sounds and things that people havent heard yet, so, I can't wait for the release.

Music-News: It's been 3 years since the release of your last album, Wild Young Hearts. Was there a conscious decision to take your time writing the follow up, or did you just take things as they came?

Shingai: We were still touring the last album about a year and a half ago, which came out in 2009. Usually a campaign is about a year and a half. This one took about a year to record, then about 5 or 6 months doing overdubs and recording new songs. I think we just wanted to be really armed and make something that was really going to last and be special. There's also been a lot of travelling and moving around. We have done a lot of starting again, with people who have never heard of us. I don't think you can rush things sometimes.

Music-News: Your last album was a huge success, did that put a lot of pressure on you while writing Contact'?

Shingai: No, not at all. It's like someone saying 'your last kid was really pretty, do you think this one is going to come out ugly'. You make every kid with the same passion and hope that they are going to grow up healthy, confident and wonderful. I think the trick with a new release is maintaining a really good campaign and doing great shows to support it. Plus other assets like videos and artwork. Making the music is exciting, but it feels as though it's only part of the journey. Contact has given the other albums something to play with. Making new songs is like making new editions to your family in a way.

Music-News: You have been busy promoting contact over the past few months. What has been your favourite gig during this period and why?

Shingai: This summer the highlight gig for us had to be Blissfields. We also played the Queens Jubilee festival and 2 shows at Hyde Park, which were so much fun. We've played Romania- Bucharest, places that other members of the band would never have dreamed that we were going. We've had some wonderful shows, playing to people who speak different languages and that's been really important, as it's only the music that does the talking.

Music-News: On a similar theme, which is the most memorable performance you have ever given and why?

Shingai: Probably when we performed at the Lake of the Stars Festival in Malawi. That was naturally an amazing experience. We played as the sun went down at this magical place called Mangochi. They call it the Lake of a Thousand Stars, as the sky is littered with a constellation that you could never describe to anyone who lives in a city like London. I don't think we'll ever see stars like that. It was so beautiful. There were lots of people from all around the world, from all African nationalities, Europe and the UK. It was really incredible.

Music-News: You found mainstream success after your song Don't Upset the Rhythm was used in a TV ad. When you were first approached about the ad, what was your gut reaction? Was it ch-ching or were you sceptical?

Shingai: I try not to foster too much cynicism and not to be too sceptical as a person. I try to be as optimistic as possible about things. As my Mum says, 'Every disappointment is Gods Appointment'. If someone comes to you with an opportunity and it involves your music, I think you should have a good think about it before turning your nose up. If they're not interested in the music, that's different because it's about the money. If they love the song and they want to use it for an advert of a film, as long as it's not selling anything that's negative, I think that's something we'll always be open to.

Music-News: Contact contains an interesting mix of musical styles and influences. Who are your musical idols? Who inspires your writing?

Shingai: (Long pause) ooh, that's an interesting question. I think I'm really inspired by artists who have a unique personality. People like Tina Turner, Kate Bush, Jimi Hendrix, Supremes, Bilie Holiday. People who give flamboyance and a bit of colour to pop. Gwen Stefani is a great example of someone who was in a band for 10 years before she had a hit and she stuck with it. Anything middle of the road washes over me. I can't say I like it of don't like it, but I can't say I remember it.

Music-News: You and Dan met while studying at the BRIT school, do you think that studying at a specialist music school gave you an advantage in the industry?

Shingai: Not really, because I didn't study music there. I actually studied theatre and drama up to university level. I had known Dan for 5 years (from the age of 14) before we started taking the band seriously. We just kept in touch as friends. The Noisettes didn't really get started until about 2005. We did a covers band before then, but I was still at Uni. We got our first record deal in 2006 with Motown Records in America. We had our first album out in 2007, but I didn't have a clue about the music industry before that. I still don't have much of a clue about it.

Music-News: When you're not writing and performing, what are the things you like to spend time doing?

Shingai: Travelling, seeing friends, having a cheeky little game. I like riding my bike along the river, seeing my little nieces and nephews, doing cartwheels. Lots of stuff.

Music-News: There's a lot going on musically at the moment. Which other performers/bands are you currently into and why?

Shingai: There's a lot of people who have really big budgets, but its hard to say whether they are singing from the heart. There is a guy called Marcus Oliver, who sings and plays the violin who is fantastic. Michael Kiwanuka is a great songwriter. I really like the production of people like Little Dragon. I also like listening a lot of jazz and a lot of stuff that's not pop, because I can come back to pop from something that's a bit more of an inspired place. Femi Temowo is a fantastic Nigerian guitar player and singer, who has an album called Orin Meta. There's loads of stuff really.

Music-News: You had huge success outside of the Noisettes with hit 'I Heard You Say (hey hey) with Dennis Ferrer in 2010. Do either you or Dan have further side projects in the making?

Shingai: You have to keep an option, otherwise it just gets boring. Dan and I have been in the same band for 6 or 7 years now. It's important to do other stuff, because we have to keep coming to each other with new ideas and keeping it fresh. We both have each others blessing on that.

Music-News: What comes next for the Noisettes, have you got a master plan? or are you just taking it all as it comes?

Shingai: The plan is just to release the bird into the wild and see how he gets on. Then to keep on learning, creating and just enjoying it while you're at it.

Music-News: Have you got a message for all of the noisettes fans out there, which you would like to share with music-news?

Oh, um.... what would the message be? (long pause). Get up stand up, stand up for your right. Get up stand up, don't give up the fight. That's to quote Robert Marley of course!
 
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  • Peter Mergener Explores “Chip Mediations For The New Millennium” And Software History

Peter Mergener Explores “Chip Mediations For The New Millennium” And Software History

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Is there a concept behind Chip Meditation 2025? Is it a comment on AI in some form?

A few of the titles are terms from chaos theory, just as on Chip Meditation Part I. For me it was obvious to also name the tracks on Chip Meditation 2025 using concepts from that field.

When it comes to AI, it’s astonishing to me to see what human beings will invent and develop, only to eventually make themselves redundant. For me, music is a purely human affair. Human beings should make music for other human beings. The fact that artificial intelligence can do this as well is interesting, and it will certainly continue to grow in importance in the future. Things always continue moving forward.

But whether everything new is automatically a good thing remains to be seen. It will definitely change the world of music.

How would you describe the points of departure and processes for Chip Meditation 2025?

With Chip Meditation 2025, I basically just wanted to commemorate the 40th anniversary, and I tried to put myself back into that period of time. Of course I also wanted to use similar sounds and sequences that would remind listeners of those first productions. Back then, it was the beginning of a long musical journey.

None of the new tracks were re-recordings of older material. They are all completely new compositions and productions that I created in 2025 in honour of the 40th anniversary. Considering that some of the older tracks were still recorded partly with cassette recorders, they still sound very good today. Of course the 2025 music sounds more refined and fuller because of the newer equipment.

I approached the production process in the same way I usually do: starting with a four-bar sequence. Then the rest of the piece develops quite naturally through experimentation, transposition, and so on. Often it almost feels as if things are happening on their own accord.

I think Chip Meditation 2025 is very sequence-focused. I don’t plan things too rigidly beforehand, however. I just let it flow and am often surprised by what emerges.

Your new album is already the third entry in the Chip Meditation series. Tell me a bit about this sound world that currently inspires you so much and the history of Parts I and II.

After the first part, things kept evolving continuously. We gradually bought more and more new equipment. For example, Michael Weisser, my former partner in Software, ordered the then extremely expensive Emulator II+, which allowed us to take another step forward sonically with a huge range of drum and percussion sounds, choirs, and strings — a massive palette of professional sounds.

Michael handled the organization and selection. I left it up to him when, how, and where things would be used. He did an excellent job, and when a new LP was finished, it was often a premiere for me as well — I was hearing it for the first time, at least with the early albums.

Chip Meditation Part II simply ended up getting released in 1989 for no other reason that the process was finished at that point.

With Electronic Universe II, you can clearly hear the sonic difference compared to the first album.

Yes, but Part II wasn’t really intended as a sequel.



Michael acquired original NASA voices and radio signals, which were incorporated into the music. It’s a pity that he wasn’t a musician and didn’t really compose, but he still had very good ideas. His cover designs and so-called “hi-tech lyrics” were something new and gave our productions a distinctive identity.

People often asked how we managed to work together when one person lived in Bremen and the other 500 kilometers away in the Southern Eifel. We communicated only by telephone, fax, and music cassettes that Michael commented on.

I’d like to briefly go back to the time before the first Chip Meditation, when you started working on the demos that later became the first album. What exactly fascinated you about the music of Klaus Schulze and Tangerine Dream at the time? 

It was this sense of something completely new — these electronic sounds, and of course this music that invited you to dream. At that time, there was nothing like it. It was often referred to as “cosmic music,” and the musicians  as “cosmic couriers.”

And then there were the live concerts, young Klaus Schulze, dressed in white, sitting on a flokati rug in front of a huge synthesizer setup, conjuring these crazy sounds and sequences from it. Tangerine Dream had a similar effect.

It really grabbed you, and naturally I wanted to do something like that too.

1984–1986 were incredibly productive years: two Software albums and three Mergener/Weisser albums. How did you experience that period, and how did you divide the material between the two projects?

Beam Scape was the first Mergener/Weisser album, although the music itself had already been produced earlier. It was only released after Mark Sakautzky took over Klaus Schulze’s label. It then became the first official release on the IC label under the new management.



I actually travelled to Braunschweig to rent a Tascam 8-track tape machine from the studio “Die Werkstatt,” run by Lutz Meyer, where I recorded the music. A week later I mixed it down there on a Tascam 32. At the time I wasn’t nearly as well equipped as I am today — all of this was before 1984.

The very first production was called DEA ALBA, a cassette book with a science-fiction story by H.W. Franke and Michael Weisser, though it wasn’t released until years later.

What were those first sessions like?

The first working session in my studio in the Southern Eifel consisted of Weisser visiting me and recording a few spoken lines over music I had produced. Everything else developed later.

Michael and I agreed that we didn’t want to split hairs over who had done what, exactly. It was meant to be our shared product. He handled the artwork, cover design, and everything else, such as obtaining the fractals. I was responsible for developing the music, and this is where my demo cassettes came into play — Michael found them extraordinary and wonderful.

I constantly created new sounds and sequences, sent them to Michael, and he commented on them via cassette tape. In that sense he did have an influence on the tracks, but he never really composed or played music in the compositional sense — that was my role. Nevertheless, we registered all tracks with GEMA under both our names as authors.

Michael used these many tracks according to his own taste and gave them their titles. Ultimately, for us, the important thing was the final product: the LP or CD.

You also mentioned an IC meeting with many artists from the label. Can you tell me a bit more about that?

The IC label became successful very quickly and, together with distributor DA-Music, wanted to thank its artists. So they invited everyone to Worpswede, an artists’ village, to spend a nice day together at the “creative house,” with food, a program, walks through the moor, and so on.

Among those present were Mind Over Matter (Klaus Hoffmann-Hook), Peter Seiler, Stephan Töteberg (Quiet Force), Burkhard Schmiedel, and others. It was a wonderful day with many good conversations and a chance to get to know fellow musicians and the people from the distribution company.

After checking and listening through the CDs, the following tracks turned out to be those demo tracks of mine from the early 1980s: on Chip Meditation Part I and II (CD), all except the track “Voice Bit,” which consists only of spoken text that Michael had Horst Breiter record in Bremen.



Also from Phancyful Fire: the tracks “Phancyful Fire” and “Sunny Rom Rise,” and from Beam Scape (LP): “Rainbow,” “Sunbeam,” “Shooting Star,” and “Small Spark.”

In our last interview you mentioned that a vocoder was also part of the studio, though I’m not exactly sure when it was added. How and in which productions did you use it with Software?

I bought the Korg Vocoder as early as 1979. I used it to create those alien voices on DEA ALBA by feeding a sample-and-hold sound from the Moog into the vocoder.

The whispering at the beginning of “Flowers of Boundary” was done that way too.



You also worked a lot with the Korg MS-20. Interestingly, even back then it was no longer brand-new. What does this synth still mean to you today?


I still think it’s wonderful. It decorates my studio and is practically my original source.

It was my very first instrument, so it’s sacred to me — although at the beginning it also cost me many hours of experimentation and learning.

How would you reflect on the development of your studio and the way it fed back into your music?

At the beginning of our collaboration, the studio consisted entirely of my own equipment. Once the first productions started bringing in money, Michael contributed a Tascam 34, a Craaft mixing console, and a Roland SRV-2000 reverb unit. Later he added a Tascam 8-track machine and an Allen & Heath console.

Michael made this equipment available to me, although it remained his property, and after our separation he took it back and lent it to Stephan Töteberg, who then took over my role.

Over the course of our collaboration, a large amount of music was created in advance — pieces I composed simply out of enthusiasm and which only later found use. Michael always told me never to delete or throw anything away, but to let him hear it first. That’s how tracks like “Present Voice” ended up being used — he thought it was fantastic and placed it on a sampler.



I had actually improvised that track one afternoon with Wolly Snyder, just on a whim. It’s basically live, still controlled by the Commodore C-64 — this was right at the beginning of MIDI. The Synthesizerstudio Bonn built me an interface for the C-64 with a sequencer program. Many tracks were controlled with it, and all the sequencers ran in sync with it, including my TR-808.

Later Michael ordered a sequencer program for the C-64 from Jellinghaus in Dortmund, and after that Atari gave us a computer with the C-Lab Notator software. Things just kept progressing from there. The highlight was the Notator, which I still enjoy using today.

Can you imagine returning once again to the world of Chip Meditation?

Yes, absolutely. I’ve already thought about creating more music in this style, and I already have plenty of graphics prepared for new covers. We’ll see.

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Peter Mergener Chip Meditation 2025 (c) the artist
 

"I don’t plan things too rigidly. I just let it flow and am often surprised by what emerges.”
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