If I had to describe them, the band could quite possibly be a metallic, more guitar-driven modern Pink Floyd. In some ways, closer to Pink Floyd than many bands in the past have come, but at the same time, forging their own direction.
Much like Pink Floyd, Long Distance Calling's music feels conceptually driven, despite being mostly instrumental. A "cohesion" in concept certainly exists that needs no words to convey. However, with the recent inclusion of Martin "Marsen" Fischer (Fear My Thoughts, Pigeon Toe, Frankestoner Grafix) as vocalist, lyricist, and keyboard player, Long Distance Calling is seeking to expand the ways in which they express their concepts to the audience- currently to sold out crowds across Europe.
Martin "Marsen" Fischer, on stage, Sputnikhalle, Muenster, Germany |
You’re not from
Muenster, correct?
Southwest,
Germany.
So then let me ask: LDC being from Muenster, how did you get in touch with them or them with you?
We knew each other for a while, since Jan works for Century
Media records, the label Fear My Thoughts, my previous band, was on. Janosh and Florian played in Misery Speaks,
so we just crossed paths. We played a
Slovenian metal festival, got real drunk together, and got to know one another (laughs).
It’s always the
alcohol that brings people together! (laughs)
That was a while ago, actually. Fear My Thoughts had split up and I came over
and they had advice for me such as how to get a record deal and what else to
do. Business shit, more or less. They also came up with a graphic design job
for me for an old record.
So we were phoning each other once in a while and then they
said “hey, we’re doing this new record and we need a singer”. I guess they tried out a couple of singers
before and then they realized that we had been on tour together, so they knew
what I was doing from my Fear My Thoughts past. They just didn’t think of me
before. I liked their music, so I
thought we’d give it a try. I was not
sure whether it was a permanent thing or just like guest vocals for about three
tracks.
Later on, they spoke about going live on stage, then it became more permanent from there.
So you are the
permanent singer of LDC?
I guess so (laughs).
How far in the
writing and recordings did you come into it?
Very late, unfortunately.
The songs were all written and had preproduction and they had all the
structures totally written, so there was none of my influence coming into the
songwriting. So we just had those tracks
and I just did my thing and sent them back to them and then we met and talked
about it and tried new stuff. I live
600km away, so we were sending things via the internet, but we then met and
talked out the details and did the final stuff in the studio in September.
So did you
participate in any writing?
I had some keyboard parts that were written according to the
songs [that were already written].
(note: the album was released that day and I secured my copy after the show and interview and it reveals that “Inside the Flood”, “Tell the End”, and “The Man Within” feature lyrics written by Martin)
It’s been estimated by the band that only about 50% of The Flood Inside contains vocals. How do you deal with the [stage] “downtime”, not only with the guitars, but also the vocals?
Well, the missing guitars are really a strange… I see myself more as a guitarist and a
musician than a singer, but I have a lot of electronic keyboard parts and
there’s really a lot to do throughout the songs. On each song, we have a keyboard section and
a Hammond organ
and we try to make it a bit more “analog”, but we still have samplers and I
still have a lot of stuff to play. So
it’s a very challenging thing, actually, because I played keyboards in a band
for a long time, but not on stage. It’s
very exciting.
You had a couple of
warm up shows already. How did they
go?
Absolutely great!
Everything just went perfect (laughs).
So it’s not as much
of a challenge as you’re making it out to be (laughs)!
Yeah, it’s exciting because I have to deal with these new
“instruments”. It’s more exciting to me
because I still don’t know how to move (laughs).
To me, it seems like
a larger gap to bridge between the instrument-based history of Long Distance Calling
and bringing in a singer on a more permanent basis. What was the process like in getting the
vocal and musical concepts to work?
I think because I knew the guys already, it wasn’t so far
away. It’s not that far from Pigeon Toe,
either, nor from the music I listen to.
I think I kind of dug what they wanted and the concepts and the fact
that we didn’t need to talk about it too much was a sign we really
connected. Another positive thing might
be that they haven’t worked with a singer before, so they don’t have a
comparison.
And they’re very open
to it (laughs).
Yeah (laughs), and
they say “this guy sings? Great!”
Plus you’re actually
there, in front of them, not on another continent or in another country.
Exactly (laughs). The perfect singer!
Typically in fusion
and jazz fusion (the background of Martin's band Pigeon Toe), there’s a lot of room for improvisation in live settings. In a live setting, do you have creative
freedom here?
Absolutely. The room
for it might be small right now because I’m checking out my space and how far I
can go. The plan is to eventually be
able to jam and expand a song to have a two more minutes of a jam session in
between. It will be possible if we put
all the sample stuff together and play it with the synthesizer or keyboard or
whatever.
Right now…I try to come up with little stuff and exchange things. I think it’s a long way until I get to where I want to be, but I think each show I don’t really know what I’m going to do and I don’t have a plan (laughs).
Sounds scary (laughs).
Yeah (laughs). I have my certain parts where I know what I’m
doing and I can always rely on them, but then there’s so much space in their
songs because Long Distance Calling is actually a guitar band and the
electronic stuff is in the background. It doesn’t really take up a lot of space
to go here and there and stretch out a bit.
And those guys really seem to appreciate it.
What is the
conceptual basis of the music of the new album?
It has more or less a definitive concept of “The Flood
Inside”, which is a journey through human emotions. It’s very personal in one way and very
abstract in another so everyone can identify with the music. When you listen to the music, you have all
sorts of pictures and images going on.
To me, the concept is that of a journey. It wants to take you to the top of a
mountain, but to each person, we didn’t want to draw the concept and say “here
it is”. We give little hints to allow
each person to go their own way.
Album cover, "The Flood Inside" (2013) |
For those who like
categories, what is Long Distance Calling?
I’m not really a guy that categorizes. We’re not really progressive because some
might say that we’re not progressive enough and there’s some metal
influences. Some people want to describe
it because it helps them identify. To
me, it’s just great rock music.
“Atmospheric” is a great word.
It’s really hard to tell.
Have you seen metal
fans in the audiences so far?
Diverse, actually. We’ve done two shows and we’ve been together during festivals [in the past]. I think we might be for metalheads that are a bit more open-minded, as well as people who had Pink Floyd in their backgrounds. I don’t think the young people are really into us. The songs are really long.
We all have ADHD
right now.
Absolutely (laughs). When a great riff comes up, they might wait
two minutes before it starts rising.
So what to expect in
2013 and beyond from Long Distance Calling?
This tour and I hope we can start songwriting during it,
actually. Some festivals, probably more
than before because having a singer might make us more interesting for them. Another tour, maybe in Sept/Oct. A lot is going on for this album and we have
to get out there.
If you don’t like what’s on the record, that’s fine, but to see us live is something different. To me, Long Distance Calling was always a band that you needed to see live. The energy and the fun they have on stage is really what this band is about.
Are you primarily a
music writer or a lyricist?
Both.
So we’ll see
influences from you in both ways in the future.
Yeah. I’m really
happy that I’ll be there from the beginning for the next record and probably
because I’m a keyboardist and I like the analog style, like the Hammond organ. Probably that will somehow be
influenced.
What challenges have you had coming into the band and working on old and new material?
LDC has had a few
internationally-renowned guest singers. For instance, John Bush.
Yeah.
Have you already
tried out “Middleville”, the song John appears on?
We wanted it. It was
an option, but I have to say that I’m not as good as John Bush. This guy is just an awesome singer and I
don’t think I want to hear a song that is so special with his voice. I don’t think if I don’t want to hear the song
with a different vocalist…
More songs with
lyrics in the future?
I’m not sure, we might stay with that “50%”. I think we’re going to start writing the songs
first and see if they need lyrics, then decide if they are better with or
without lyrics. I don’t think we’re
going to be a 100% vocal band because, to me, I love the instrumental stuff.
In that way, you fit,
as you’re an instrumentalist and a music writer, so you seem to understand
their methodology.
Absolutely. I also see
myself most as a keyboardist than a vocalist.
Then there’s those three songs that I actually sing on.
What can we expect
from your other band Pigeon Toe (fusion/prog band featuring Norman Lonhard of Triptykon)?
Pigeon Toe is writing the next record. We hope to release it this year, but it’s not
certain. We’ve already booked the studio,
which will be with V. Santura (Dark Fortress, Triptykon) at Woodshed Studio.
Then possibly a tour.
Everyone seems to go to Woodshed Studio these days (laughs).
Absolutely (laughs).
What can we expect to
be the musical direction?
Well, it’s hard to say…
Do you guys even have
a musical direction (laughs)?
Right now (laughs)
we have a couple of ideas and we have 3-4 songs that we are working on and I
showed it to a couple of guys I know because it’s always hard for me to explain
and they said “this is absolutely Pigeon Toe” (laughs).
So basically what to expect from Pigeon Toe is that we won’t know what to expect?
Pigeon Toe, featuring Martin "Marsen" Fischer |
So basically what to expect from Pigeon Toe is that we won’t know what to expect?
Yes (laughs).
Where do you expect
the music industry to be in 5-10 years?
5-10 years? I hope
that there will still be a place for bands like Long Distance Calling and
Pigeon Toe and others because these are bands that have an audience that
appreciates music that still comes out in a physical format. Things have changed. Everything is getting faster with the
internet…
I don’t know a lot of people anymore that have records. A good friend of mine was the guitarist in
Fear My Thoughts and he sold all of his records-maybe 800. He said that he just didn’t need the physical
record. You can just buy the music,
which is a weird thing for artists. Like
me, I like the cover art. Pop and chart
music will be even more superficial than now, but this music that is so intense
will still exist.
The music will always exist, but the format…no one knows…
Right, no one knows.
In a way the live shows will be the same.
What’s your equipment list?
(indicates visually it’s very
large)
Ok, so what’s your favorite guitar?
Ok, so what’s your favorite guitar?
Gibson Les Paul Custom because it’s very expensive! When I bought it, I was really happy to buy
one that didn’t cost as much as a new one because it’s 30 years old and it’s
very heavy…
There’s this one scene in Jurassic Park
when a guy picks up binoculars and another guy asks if they’re heavy and he
replies “yeah, and expensive!”. So heavy
things, to me, are always associated with “expensive”.
The guitar sounds great and it’s never been out of tune and
looks great.
That’s the guitar we
see you with in the Pigeon Toe pictures, right?
Mostly, yes.
And will we see you on stage here with it, or will you purely handle the electronics?
Mostly the electronics, but the idea is if in the future
there’s room for more guitar sounds, then why not?
www.longdistancecalling.de/
www.facebook.com/longdistancecalling
www.twitter.com/avoidthelight
www.superballmusic.com/artist.aspx?IdArtist=298
Related:
www.pigeontoe.de/index.html
www.woodshedstudio.de/
www.facebook.com/frankenstonergrafix (artwork of Martin "Marsen" Fischer)
www.triptykon.net
www.darkfortress.org/
www.facebook.com/longdistancecalling
www.twitter.com/avoidthelight
www.superballmusic.com/artist.aspx?IdArtist=298
Related:
www.pigeontoe.de/index.html
www.woodshedstudio.de/
www.facebook.com/frankenstonergrafix (artwork of Martin "Marsen" Fischer)
www.triptykon.net
www.darkfortress.org/
Related
Swallow The Sun live here
Amorphis live here
Orange Goblin live here
Attic live here
Victor Griffin's In Graved live here
Kadavar live here
Valient Thorr here
Krakow live here
Valborg live here
Solstafir live here
Audrey Horne live/interview here
Bison (Bison BC) here
Kalmah live here
Triptykon live here
Long Distance Calling live/interview here
Nachtgarm (Negator) here
sG (Secrets Of The Moon) here
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