Welcome to Series 1 of Norwich Spotlight, a run of articles where I’ll be shouting about an amazing band who do amazing things.
Each Spotlight also includes an interview with the artist/band and a Recent and Decent playlist made by the artist!
Welcome to article #1 where I’ll be diving into the work of Red Mar, the experimental noise rock band from good old NORWICH, ENGLAND.
Introducing Red Mar
I’ve seen Red Mar a couple of times this year, once last year, and they’ve blown me away every time. Their music is deeply immersive, ambitious and provocative and I was so excited to hear what they had to say about their song-writing process. To start off with, here are the two gig reviews I wrote for the gigs I’ve seen this year.
In reference to January’s gig at Norwich Arts Centre I said this:
Red Mar are from Norwich but they’ve been gigging in London too. They are working on their first album so are now taking a little break but, when they’re back, I implore any music lovers to watch them. Their performance was spellbinding. I saw them last year, too, and somehow, despite the ambition and complexity of each setlist, the gigs were completely different.
The first song they played this time round was a 28-minute long piece, which started with one of the drummers (one of the two!) composing. There were three string players, there was yelling, there were soft moments, it was hazy, magnetic, bewitching. Words can’t quite do the experience justice but I would say it was a glorious reflection of what live music should be: authentic. Can’t wait to see them again.
In reference to September’s gig, also at Norwich Arts Centre: This is actually who I wanted to see and they didn’t disappoint. Immersive, left-field, experimental rock by obsessive musicians. Like a demonic opera. Captivating.
And now for interview
Firstly, please introduce yourself:
My name is Miles Lukoszevieze, I play bass guitar and sing in Red Mar.
My name is Harry Fisher, I play viola and keyboards in Red Mar.
What's been your favourite gig to play so far?
M: Every one is different, our recent one at Paper Dress Vintage was particularly intense, and we all enjoyed supporting Show Me The Body, that gig ended up as a live album. Though my favourite we’ve done was probably our headline at Norwich Arts Centre with the added orchestration.
H: I find it difficult to pick favourites because my memory simply fails me. They blend together and only a recording can trigger a memory of specifics. One gig that felt and feels good is also one that I’m certain my fellow band members look back on with little fondness; and that is when we played in the Spiegeltent of the Norfolk and Norwich festival. It was for me a perfect mix of low expectations and fresh material, even if the sound limit created difficulties.
Your songs are spellbinding and I often have a transcendental experience when I watch you play. Is the song-writing process equally as immersive or is it a bit more aware and conscious?
M: Not particularly to the former, though as of recently we’ve been composing through improvisation much more, and without the time constraints of a live show this process naturally extends into longer durations so inevitably it becomes more immersive. But we are still critical and conscious, it’s a slow process still and about a balance of the two.
H: It can be both, I think. When a song comes along that one of us has been developing on their own it feels like we are working towards the transcendental from the conscious. And I think the inverse is often true as well when we have created new work through improvisation. Maybe that simplifies too much; there are always nuances and exceptions to these processes. One of the ways I haven’t mentioned is the new idea that comes through a controlled variation in a song live. That can equally be driven by conversations on the way to a venue as by spontaneity and improvisation. I’ve found myself responding to novelties that emerge through the process of our making an album as well.
How's the recording of your debut album going and do you enjoy the process of recording?
M: We have finally finished it. I’ve always preferred performing because it’s immediate and temporal, the moment is gone after you finish so it lends itself to more viscerality and sonic potential, you are simultaneously in control but also not - which I enjoy. The recording process requires a different mindset and it can be more laborious as there is more at stake, but I’ve come to enjoy it more these days. However we have all collectively agreed to not spend as long we have on this album for future releases.
H: Well that worked nicely didn’t it. It’s taken time but it's finally here. I thoroughly enjoyed the experience of recording. Arriving early on cold mornings, making and drinking coffee under heat lamps and a vaulted chapel ceiling while listening to the progress of the last day. It felt special and intense and a privilege to be able to spend time doing this thing that I love. It was scary at times, playing parts you’ve known for some time, keeping them fresh, correct, varied. As I said I learnt a lot through that, I’m sure we all did. Perhaps to my detriment I’ve not been involved much in the mixing process. That technical side of things is not something I excel at, but I’ve enjoyed seeing it progress along the way and am really looking forward to the imminent release.
Your music appears to mean a lot to you (and I think this is why I love watching you live). How therapeutic is your music to you?
M: Very, of course. I can’t speak for the others but I’ve certainly noticed a more physical effect it has on me these days, which I think has come from more certainty in what we do. When I was younger it was more emotional but because of that it was less free and more controlling. I’m very sensitive to live sound so if there is something off it can ruin it, but when the on-stage sound is good and everything is well balanced, at our peak it is a wonderful feeling.
H: It does mean a lot to me. I think more and more over the years. It has become my primary musical expression since most of my attention has gone to studentry and work since leaving school. It is sometimes therapeutic. I think the thinking about it is therapy to me, the act of being a musician when you’re not live. It’s like you’re proving that this is a real profession, and that can be a really fulfilling feeling. But my solo practice is more therapeutic I think. As a band I think we ask things of an audience when we play, so I think we are more like therapists. It is satisfying to receive any response for a therapist because something can always be understood from a response. Then we can heal people? Or give them something to think about? I think when I listen to our music I want people to feel enveloped. That can be an incredibly therapeutic feeling and in moments of our playing I feel it too. The nature of playing multiple instruments in a more textural role, unfortunately, is that you have to keep a survey balloon above you while you’re in the marsh.
Finally (and I've decided that I'm going to ask every band this from now until the end of time), would you be able to create a 7-song Recent and Decent Guest Playlist? This would be 7 songs that 1) you like and 2) have all been released in the last year. Diverse genres encouraged!
Laurie Anderson - Take-off
That Travis - 稻田外（有窗)
Moondog, Ghost Train Orchestra, Kronos Quartet - Why Spend a Dark Night with You?
Drew Mcdowall - A Dream of a Cartographic Membrane Dissolves
La Fábula - Changanyika
Merzbow - 10-Muko
Oliver Leith, Jack Sheen, 12 Ensemble, GBSR Duo, Jimmy Holiday - Last Days, Act 3, Scene 7: Voyage
Sign off
Thank you so much to Miles and Harry for that interview and for creating that wonderful, eclectic playlist! Exactly what I want from a Recent and Decent mix.
I’ll leave you with a Red Mar song now although, as you have recently read, a new album is forthcoming so keep an eye out for that. Their next gig is at Voodoo Daddys in Norwich on 7th November. Strap yourselves in and good night.
Brilliant interview - fantastic questions and answers. Looking forward to reading more!