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Frank Zappa - Peefeeyatko

Een 'serieuze' documentaire over Frank Zappa rond 1990 door

Henning Lohner







FZ: I like the idea of brass instruments where all the overtones come to life in a place where the room is feeding something back into the sound. What a microphone does is it's a substitute for an human ear, could be a good ear or a bad ear, depending on the quality of the microphone. You put the microphone in an ambient environment and you excite the air molecules in that environment. And if it's an interesting environment it makes the instrument which is playing in that environment more interesting, more valuable, and it's a more memorable sample. So a lot of the samples that we have done here at this studio were done back at that room.

Inverviewer: Are you saying that space in a composition is a basic factor?

FZ: Always has been, for me anyway.

Interviewer: So when you compose.....

FZ: (interrupts) Excuse me. In mixing that is called the back to front of the mix. In other words, not only do you want stereo ... like that, you wanna be able to see individual instrumental placement in the stereo spectrum but there is the dept of the mix.
Certain instuments are dryer than others in the mix, and they sit in the front of this imaginary stereo screen. Other instuments are more ambient of you have added a longer echo delayed to it reproberation (?) delayed to it. And they tend to sit, resede in the stereo picture. So when you do ... when I think of a composition, I also think of WHERE are these instruments located, not only in terms of an imaginary seated position, but what world are they living in. And when you have a multiplicity of echo devices at your disposal, then you can create individial environments for these instruments to live in. You get to compose in a way that goes beyond the notes and goes beyond the overtone series, and goes beyond other normal compositional things. You're building a world. Your building ... Your composition can now be it's own personalised musical universe.



"Excerptis Frank Zappæ Elektronik MuZik"

Due to his commitment to the fields of contemporary music and theater as well as avant-garde filmmaking, Frank Zappa became aware of Lohner and invited him to work in California; Lohner collaborated with Zappa intermittently until his death in 1993.[4] Lohner initialized and co-produced Zappa's last concert performance, The Yellow Shark, along with the album of the same name, followed by the album Civilization, Phase III; both albums are based on collaborations with the Ensemble Modern, a contemporary music group from Frankfurt, Germany. Lohner's film installation project raw material toured several important museums in Europe from 1995 until 1997, establishing Lohner as mulit-media artist. Thanks to Hans Zimmer, Lohner began composing for films, joining his Remote Control Productions in 1996. From here on in Lohner works equally in the fields of audio and visual media. Lohner lives and works in Los Angeles and Berlin. He is a Visiting Professor at the renowned Zurich Academy for Music and Theater, now ZHDK (Academy of Arts) in Switzerland.

Frank Zappa introduced Lohner to highly acclaimed cinematographer Van Theodore Carlson in 1989 to film Peefeeyatko,[5] [6] the biographical art film on Zappa's life and work. Peefeeyatko spawned Lohner and Carlson's life-long artistic partnership. It contains the first published examples of their filmic artwork.



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