Intervista con Colin Edwin – Porcupine Tree. [Interview]

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Intervista con Colin Edwin – Porcupine Tree. [Interview]


Il 23 Novembre si avvicina, manca pochissimo alla clinic e al concerto che vedranno protagonista Colin Edwin dei Porcupine Tree, insieme a Lorenzo Feliciati e Roberto Gualdi. Eccovi l’intervista che ci ha rilasciato in attesa dell’evento.

Waiting for clinic and concert of Twinscapes, a special post for our english speaking friends. Here it is our interview with Colin Edwin from Porcupine Tree.

GH: Dear Colin, First of all, thank you for having accepted our invitation.
When we decided to organize this performance, we soon realized that we would love inviting bass players with a strong “band” background with a particular inclination to solo and original projects.
And you were the first we dreamed of. ūüôā

C.E.: ..I am glad to hear it!

GH: Beside being a bass player, you are a great musician with a special inclination for sound landscapes. When you first realized that bass would have been your voice?

C.E.: When I was about 15, I was spending such a lot of time listening to music, I felt I wanted to get involved in playing it too. Coming from a family where both my father and brother played guitar, the bass actually a suggestion of my mother.  Amazingly, within a few weeks I had met a really great session bass player who, in a very informal way,  taught me a lot of the necessary skills and gave me some great advice. Years later, my mother told me that as a very young child, I would gravitate to the bass whenever my father had people round to jam so I guess I was bound to find it, or it to find me, sooner or later.

GH: You play bass in one of the greatest prog rock band at the time, Porcupine Tree, what kind of responsabilities do you have as musician and bass player?

C.E.: Like any ensemble, Porcupine Tree has a mesh of personalities that fit together in a certain way, musically and personally. The band has quite a full spectrum of sound going on most of the time, so I always try to be aware of the frequencies I inhabit. For example I found sometimes if I go too far into the higher register the bottom end of some of the songs feels lacking, and I need to be aware of the balance of rhythmic complexity¬†with the drums, more often than not, solidity and simplicity works best. It’s difficult for me to define my own style since I am probably too close to be objective, but I have tried to develop a way of playing with economy but also hopefully also with strength, definition and maintaining¬†interest.

GH: Talking about your solo projects, among them Twinscapes w/ Lorenzo Feliciati is the only one with another bass player, why have you chosen to focus on this particular solution?

C.E.: I was always intrigued by the idea of working with another bass player. Not just because it would give me the opportunity to use a lot of effects that otherwise are hard to use in a regular band situation, and tend to gather dust otherwise, but also because it would open a lot of other possibilities to do things you don’t normally do in a group situation, like playing melodies, textural things and also forcing me to think a little differently.

I think there’s a certain amount of natural chemistry¬†that means Lorenzo and I have a lot of similar ideas, but we also have enough things that we approach differently so we can encourage each other to do things that we maybe wouldn’t do, left to our own devices. We both share a similar awareness of space, which means we can play together and give each other enough room, without really having to discuss it.

One other factor is that usually as a bass player, there are fewer opportunities to see how other guys do it, as in a gig situation, you are usually the only one there. Lorenzo is a great bass player so I also enjoy hearing him play and I take every opportunity to assimilate some of his ideas.

GH: Probably you meet a lot of young bass players around the world, what do you think would be the future of our instrument?

C.E.: The bass guitar, which has certainly proved itself to be popular, versatile and expressive is still developing, and the techniques that you can use are developing too, but at the same time, the function of the bass in a group situation, or the places most if us find ourselves in most of the time is kind of timeless. If you listen to music from all over the world from different eras the role of the bass is generally similar. 

In the future, I think we will see more possibilities and more contexts for the bass, and an expansion of how the more fringe techniques are used.

GH: Last but not least, could you kindly give us some details on main topics of your clinic?

¬†C.E.: I am sure we’ll cover a lot of ground, but heres a few starting points – Use of Effects, (a big subject for both of us!). Awareness of Space, Improvisation, Playing Melodically Vs Accompanying, Creating Rhythmic Ideas and whatever else we get asked about!

Bye for now,




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