I no longer tried to be a guitarist, says Repac. I was simply playing music. It permitted me to open my spiritI would never be a virtuoso, so I could develop other things, imaginary things. That imagination is in full swing on Swing-Swing. The tunes are at times playful and comic, at others tough, dark and very film noir.
Some are little lower-case moments, others big, bold and brassy. And they draw on the many years and permutations that what might be called swing went through. What I like about this work is that I can make pieces cohabitate, a piece from the 20s with another from the 50s, or the 40s or 60s. It takes the machines into a somewhat poetic realm, because it allows meetings between people who would never have met. Theres also a nutty inventiveness that suggests Carl Stalling and Raymond Scott, as musical instruments imitate horses and trains, while voices imitate instruments.
Im a bit of a singer, so Im always singing things as onomatopoeias. I have a natural rapport to music, because Im self-taught, so I think that, fundamentally, Ive created myself an imaginary musical language. I really work only with my ears. Put into loops, the samples become something very different from what they originally were. Multiplying those on several tracks, one makes a monster, a bit like Frankensteinits dead matter, it gets plugged in, kneaded and mixed, and all of a sudden, it gets up and walks.
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