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REVIEWS
LABELS
Interview with Matthew Coldrick (Green Nuns Of The Revolution, Pan Electric)
Author: Radoslaw Bialek
Date: 6th of February 2008
01. In the history of every nation there is a person who is a living legend - who is a living legend in the mind of the society. In British culture, or maybe it will be more precisely to say: in English-language culture, this person probably is William Shakespeare... What is your relation to his art? Do you know well his comedies or dramas? Can you say with the hand on your heart that you love some of his art?
I studied Shakespeare at school but find him more interesting now than then. He seems to have said everything of importance about the struggles of human nature. Do I love his art? Probably admire and respect more than love.
02. Shakespeare's language is difficult for today society or maybe it's because "today's people" are too lazy for looking to this kind of art?
Digital and automated lifestyles have made developed societies lazier, for sure. You only have to look at the impact of the hand held calculator or "spell check" on a word processor to see how.
03. Who's art is in your opinion most similiar to Shakespeare's in the sense of the immortality?
It's a subjective thing. For me perhaps Mozart, Van Gogh, Turner, Debussy, Rachmaninov, Blake, Dylan, Thomas, maybe even Lennon and McCartney, I could go on and on, there are so many masters.
04. What is the thing that create in human's mind a will to look more deeply into the art?
It's a need to explain existence and the journey of the soul in each life. Art gives us the chance to say "this is what I see and feel, what about you?".
05. Tell me about the first moment in your life when the art of the other person talked to your heart. How would you described that feeling and what exactly that art was?
Perhaps reading "The Old Man And The Sea" by Hemingway (add him to the list!) - or maybe hearing "Strawberry Fields" by The Beatles and a real turning point was hearing "Papua New Guinea" by The Future Sound Of London.
06. Do you receive the art as a normal thing of your life?
Art becomes more significant as I get older.
07. Our scene - but let's treat for a moment the "scene" as a link to the goa music only - have many living legends and Green Nuns Of The Revolution, your old project done with Richard Trevor and Neil Cowley, is for sure one of them. At the present time, one person somewhere in the world play your music by this act. And many have this project still in mind and have a good, pleasure memories while hearing just the name of the group. Let's then back to the world of 90s. Imagine yourself at that time, try to remind yourself your thoughts - but first of all tell me: in what kind of music you were involved before Green Nuns Of The Revolution?
I was trying to get a record deal as an Indie Dance singer song-writer. A cross between Elvis Costello and The Stone Roses!
08. How did you discovered the goa music?
I was sharing a flat with a DJ who was playing a lot of minimal European trance from FAX Records, I thought it was very different to anything that I had heard before.
09. How the name of your group was born?
The name Green Nuns was taken from Colonel Gadaffi's elite bodyguard - we thought it was funny to name a trance band after them!
10. The goa term was exist when you created at that time?
We saw ourselves as psychedelic trance more than goa - the goa association did not really help us.
11. Why? What was wrong with the goa term at that time? Explain it to me, please.
A lot of people associated the goa party scene with rich hippies. I've never been to Goa and the music I was making was not directly influenced by Indian/Hindu culture. If anything The Green Nuns were more English rock'n'roll in our attitude, we just used electronic instruments and made dance music.
12. Were you fascinated by some of the albums released at the scene at that time?
Yes, the early TIP compilations still sound amazing, Simon Posford and Youth probably contributed the most to that sound.
13. How the goa scene was good at that time when your album was created and what can you say about that goa times from the present?
I'm not involved anymore so I can't comment - back then it was a scene that seemed to evolve and erupt over a three to five year period.
14. Which years would you then name as the border of this music?
That varies with each person and a "scene" or a movement like goa or acid trance tends to evolve organically - it only becomes defined when the press label it as something.
For me the dance music scene began when I heard "Papua New Guinea" by FSOL on Annie Nightingale's Radio 1 show. I was astonished by the vibe and having been a songwriter with a guitar it was a revolutionary sound that made me want to get involved in this new style of production.
Perhaps the roots of the goa scene actually lay in the 1960s with travellers that went to India and stayed. And then again the acid house warehouse parties in London in the 1980s also marked a key point in dance music history. And that scene was a political response to the Thatcher years. So often an art scene is born from political rebellion.
15. It was difficult to work on the music with your partners from the group?... How many times did you all quarrels?
It was not difficult but it was often a slow process and I always wanted it to be more funky.
16. And what they wanted?
Well, you can see that by what they are doing now. Dick was happy with the trance music and is still making it and Neil now has a jazz trio.
17. Do you remember some anecdotes or funny moments when you was involved in Green Nuns Of The Revolution?
The whole experience was one long anecdote!
18. There is also a video of the one of your most famous tracks - "Rock Bitch". How did you created it?
A friend of mine filmed it and my brother did the edit. It was a very off the wall process. We did it in an afternoon.
19. With Richard and Neil as The Green Nuns you have released only one album titled "Rock Bitch Mafia". The CD was released in 1997. How many copies was sold?
I don't know the exact figures but around 10,000.
20. How looks a cooperation with the labels at that time? The scene was very small so there was a chance to work with the amateurs that may stole the money. The level of professionalism was small or big at that time?
It depends on who and where. Some people were very pro, some people were absolute criminals. Most were just realistic.
21. So tell me just, who or which label was the best from them?
For me the people with the most integrity were Phantasm Records, as for most professional in the way they worked, then probably Dragonfly Records, but they had more support than the others.
22. One thing is still in my head and I can't stop thinking of it - why did you decided to title your album as "Rock Bitch Mafia"? It's not too serious name for the goa or even any album.
It was something that India Waters said about her mum's friends. (She is the girl on the cover).
23. The music from the album and your tracks released on compilations are still intriguing and this is more important. Personally, I am still especially touched by your remix of Tuufan's "Probe"... However, your main material, the album, isn't available for today listeners. Will you re-release this CD in the future? Had someone an idea to do this in the past?... Will you agree to see the re-release?
It is available on-line at audiojelly.com.
24. I mean: on physical CD.
It's something we talk about from time to time, but no immediate plans. I think we are all too busy on our new lives.
25. Why did you decided to close The Green Nuns?
It was time for a change... Simple as that.
26. Do you know what your partners from Green Nuns Of The Revolution did since that time and what exactly are they doing now?
We keep in touch and even do the occasional gig, we played at The Glade Festival last year. Dick is still making trance music and does a lot of DJing and Neil has a very successful jazz trio.
27. What is your personal opinion about the level of art of the goa music?
It's more a lifestyle than a form of art.
28. All right, so I will ask you about the level of art of the psytrance music.
That is so hard to answer - but so long as people keep on immitating and replicating or using formula to create tunes - it's not art, it's commerce. When any scene is underground or in its infancy it is artistically purer - when it becomes commercial and when the press get hold of it, then it tends to lose its purity.
29. What did you do in your life between the era of Green Nuns Of The Revolution and the era of creating your completely new musical idea: Absolute Ambient label?
I borrowed some money and set up my own studio. I read a lot of books on the healing power of sound and music and I wrote music for TV to pay the bills.
30. You have did a big changing - from the goa to the ambient style there's a huge gap in the emotion of sounds and technical work. I bet this have a connection to the change of you as the person.
Of course - I needed space and peace and wanted to explore a more meditative approach to life, the music reflected this.
31. How much from the old Matt Coldrick (from the goa times) was in you when you created the label and how can you describe yourself now in this aspect?
It was a natural progression from one to the other. Essentially it was and is the same person, what's changed is the way I live and look at life, but all the knowledge and experience from The Green Nuns is put to use on the new project. Nothing is wasted.
32. Your first release from Absolute Ambient - "Music For A Busy Head", 2001 - is a very minimal ambient. I was really surprised by this album - it's not a masterpiece but you warmly felt the ambient idea. What was your inspirations for this CD? Tell me about the history of creating it.
To me it is a masterpiece because it's so simple and so well defined. It was inspired by my study of sound healing and by meeting a spiritual healer. It was created very quickly, in-between doing themes for TV programmes.
33. Your second CD - "Elemental Journey" released in 2005 - is the work with Matthew Hillier. How did you met him?
I think I was introduced by Andrew at Interchill Records.
34. The album musically goes for more chillout zones than the previous one. This direction was in your head before creating the CD or in the working process it goes in this way and your idea was different?
I'd never worked with Matt Hillier before so I had no preconceptions as to what would happen. The way we work together is unique and has its own organic pattern.
35. This CD was done via internet. It was the first time when you created in this way? You liked it? In the rating of 1-10 how did you rate a pleasure of working with the other artist via internet and in the traditional way - in the studio?
Yes, I loved working like this. It gives total trust to the other person and is a very green way to work. It's an 7-8 out of 10 process. Being in the studio with the artist can be just as good so long as each person has a defined role.
36. In 2007 the third CD in Absolute Ambient discography was released: "Conscious Pilot" as Pan Electric. The album is definitely a big change in the direction of the style you are creating via your label. This time we see also many more and musically different (not only the ambient influenced) artists in the credits: Pete Lewinson, Charlie Roscoe, Heallenour Webb, BJ Cole, Dan Burke, Duchess, and two artists that collaborated with you on a full CD in the past - Neil Cowley and Matt Hillier. Describe, how it was to work with them in the sense of creating your conception? Or maybe there wasn't one specific conception and you simply work together and this beautiful album was born?
It took nearly three years to make and there's maybe 4 or 5 tunes that didn't make it on to the album. So it kept on changing shape. I wanted to work with other people so I kept on asking people to come and work with me. It is more fun and gives you more options to use other people talents and soulfull input.
37. Which track from "Conscious Pilot" is in your opinion the best from the technical point of view? The one track that you're especially proud of.
The one that touches my soul the most is "Zumaware" which is a co-write with Charlie Roscoe (Jairamji). I don't judge by technical competence or complexity but by that which moves my soul.
38. "Conscious Pilot" may be described as a kind of multi-instrumental music... On which instruments you can say that you can play?
I'm a guitarist and have been since I was 7 years old, but in a modern studio a technical knowledge and some keyboard skills are essential.
39. There was a provocation in one of the programs about the culture in the TV I saw maybe two years ago. The guest - art critic - was asked about the man who did a provocation in the museum: the man had did a pooh there and said that this is the art because it's a thing of human creation... What would you say in the place of that art critic in the studio?
I am laughing at the idea right now... so that is my answer! If he sculpted his turd (excrement) a little and maybe put it in a frame it would have said more!
40. What exactly is ambient?
Brian Eno described it (and he invented it) as music that must be able to hold the attention of the listner and also be totally ingnorable.
41. But what's your personal definition?
I can't do better than that.
42. Who are your ambient masters and which of the album you ever heard in this genre are your favourite?
Brian Eno, Ulrich Schnauss, Biosphere, William Orbit. No one favourite.
43. Similiar question to the one from the past - what is your opinion about the level of art of the ambient music?
Ambient music is more abstract by nature and therefore lends itself to more experimentation. It is as artfull as the person making it.
44. If I compose one short note on a piano and the composition will start with this sound and then will be nothing for 10 minutes - it'll be for sure the ambient as "the background", but is this will be the ambient as "the music"?
If you could be bothered to spent time and energy convincing the rest of the world, you could call it anything. But I don't think anyone would take you seriously.
45. Four albums you have in your discography - everyone of them is minimum on the very good level in my opinion. Which one from them have a special place in your heart?
They all tell a different part of the story and mean something different.
46. Do you have any definite plan for the future?
Lots of plans, but they are all secret!
47. Abstract one. Immortality of your art or fulfilling now your secret dream. What would you choose?
I believe in the immortality of soul anyway so I'll take the secret dream, thanks!
48. Send the message to your fans.
I wasn't aware I had fans... only listeners and friends. (smile)
49. I think that there is a lot of your fans. I'm one of them. Why? Because you decided to create what you feel while many, many artists from - not only my - lovely goa period decided to create full-on sounds and unfortunately most of them (in the meaning of the artistic work) is without the soul. And even some of my favourite goa artists took this way - the easy way into the money. For me - it's very easy to say that they have betrayed oneself because I feel that they are not trying to invent something new. I must say that I didn't liked your goa music as much as from the other artists that are now in full-on scene, but you have intrigued me because of your musical path. This is why I am your fan and this is why I decided to do an interview with you, with "Matt Coldrick". You are doing what you want to do, as everyone, yes, but you are doing it without having the money in mind so it's not easy. Of course your "Conscious Pilot" album is more mainstream than everything you ever did (and even more mainstream than that full-on), but I wish you thousands of pounds from this CD because you are helping the art's soul to grow into something more sophisticated - from many "bricks" by artists from the world we can all build beautiful and more beautiful "palace" of the art. Thank you.
Thank you for your honesty and for your commitment to understanding my path as an artist. So few people realise that change is a healthy thing, not to be feared or avoided. Art is one of the few pure ways the soul can have total freedom of expression - what I make IS me and often a better part of me than anyone sees in the everyday world and so as an artist I simply allow myself freedom of expression. If that means making something that is seen as more commercial then I'm just as happy as if I drew a little picture on the back of a cigarette packet and nobody ever saw it.
Author: Radoslaw Bialek
Date: 6th of February 2008
01. In the history of every nation there is a person who is a living legend - who is a living legend in the mind of the society. In British culture, or maybe it will be more precisely to say: in English-language culture, this person probably is William Shakespeare... What is your relation to his art? Do you know well his comedies or dramas? Can you say with the hand on your heart that you love some of his art?
I studied Shakespeare at school but find him more interesting now than then. He seems to have said everything of importance about the struggles of human nature. Do I love his art? Probably admire and respect more than love.
02. Shakespeare's language is difficult for today society or maybe it's because "today's people" are too lazy for looking to this kind of art?
Digital and automated lifestyles have made developed societies lazier, for sure. You only have to look at the impact of the hand held calculator or "spell check" on a word processor to see how.
03. Who's art is in your opinion most similiar to Shakespeare's in the sense of the immortality?
It's a subjective thing. For me perhaps Mozart, Van Gogh, Turner, Debussy, Rachmaninov, Blake, Dylan, Thomas, maybe even Lennon and McCartney, I could go on and on, there are so many masters.
04. What is the thing that create in human's mind a will to look more deeply into the art?
It's a need to explain existence and the journey of the soul in each life. Art gives us the chance to say "this is what I see and feel, what about you?".
05. Tell me about the first moment in your life when the art of the other person talked to your heart. How would you described that feeling and what exactly that art was?
Perhaps reading "The Old Man And The Sea" by Hemingway (add him to the list!) - or maybe hearing "Strawberry Fields" by The Beatles and a real turning point was hearing "Papua New Guinea" by The Future Sound Of London.
06. Do you receive the art as a normal thing of your life?
Art becomes more significant as I get older.
07. Our scene - but let's treat for a moment the "scene" as a link to the goa music only - have many living legends and Green Nuns Of The Revolution, your old project done with Richard Trevor and Neil Cowley, is for sure one of them. At the present time, one person somewhere in the world play your music by this act. And many have this project still in mind and have a good, pleasure memories while hearing just the name of the group. Let's then back to the world of 90s. Imagine yourself at that time, try to remind yourself your thoughts - but first of all tell me: in what kind of music you were involved before Green Nuns Of The Revolution?
I was trying to get a record deal as an Indie Dance singer song-writer. A cross between Elvis Costello and The Stone Roses!
08. How did you discovered the goa music?
I was sharing a flat with a DJ who was playing a lot of minimal European trance from FAX Records, I thought it was very different to anything that I had heard before.
09. How the name of your group was born?
The name Green Nuns was taken from Colonel Gadaffi's elite bodyguard - we thought it was funny to name a trance band after them!
10. The goa term was exist when you created at that time?
We saw ourselves as psychedelic trance more than goa - the goa association did not really help us.
11. Why? What was wrong with the goa term at that time? Explain it to me, please.
A lot of people associated the goa party scene with rich hippies. I've never been to Goa and the music I was making was not directly influenced by Indian/Hindu culture. If anything The Green Nuns were more English rock'n'roll in our attitude, we just used electronic instruments and made dance music.
12. Were you fascinated by some of the albums released at the scene at that time?
Yes, the early TIP compilations still sound amazing, Simon Posford and Youth probably contributed the most to that sound.
13. How the goa scene was good at that time when your album was created and what can you say about that goa times from the present?
I'm not involved anymore so I can't comment - back then it was a scene that seemed to evolve and erupt over a three to five year period.
14. Which years would you then name as the border of this music?
That varies with each person and a "scene" or a movement like goa or acid trance tends to evolve organically - it only becomes defined when the press label it as something.
For me the dance music scene began when I heard "Papua New Guinea" by FSOL on Annie Nightingale's Radio 1 show. I was astonished by the vibe and having been a songwriter with a guitar it was a revolutionary sound that made me want to get involved in this new style of production.
Perhaps the roots of the goa scene actually lay in the 1960s with travellers that went to India and stayed. And then again the acid house warehouse parties in London in the 1980s also marked a key point in dance music history. And that scene was a political response to the Thatcher years. So often an art scene is born from political rebellion.
15. It was difficult to work on the music with your partners from the group?... How many times did you all quarrels?
It was not difficult but it was often a slow process and I always wanted it to be more funky.
16. And what they wanted?
Well, you can see that by what they are doing now. Dick was happy with the trance music and is still making it and Neil now has a jazz trio.
17. Do you remember some anecdotes or funny moments when you was involved in Green Nuns Of The Revolution?
The whole experience was one long anecdote!
18. There is also a video of the one of your most famous tracks - "Rock Bitch". How did you created it?
A friend of mine filmed it and my brother did the edit. It was a very off the wall process. We did it in an afternoon.
19. With Richard and Neil as The Green Nuns you have released only one album titled "Rock Bitch Mafia". The CD was released in 1997. How many copies was sold?
I don't know the exact figures but around 10,000.
20. How looks a cooperation with the labels at that time? The scene was very small so there was a chance to work with the amateurs that may stole the money. The level of professionalism was small or big at that time?
It depends on who and where. Some people were very pro, some people were absolute criminals. Most were just realistic.
21. So tell me just, who or which label was the best from them?
For me the people with the most integrity were Phantasm Records, as for most professional in the way they worked, then probably Dragonfly Records, but they had more support than the others.
22. One thing is still in my head and I can't stop thinking of it - why did you decided to title your album as "Rock Bitch Mafia"? It's not too serious name for the goa or even any album.
It was something that India Waters said about her mum's friends. (She is the girl on the cover).
23. The music from the album and your tracks released on compilations are still intriguing and this is more important. Personally, I am still especially touched by your remix of Tuufan's "Probe"... However, your main material, the album, isn't available for today listeners. Will you re-release this CD in the future? Had someone an idea to do this in the past?... Will you agree to see the re-release?
It is available on-line at audiojelly.com.
24. I mean: on physical CD.
It's something we talk about from time to time, but no immediate plans. I think we are all too busy on our new lives.
25. Why did you decided to close The Green Nuns?
It was time for a change... Simple as that.
26. Do you know what your partners from Green Nuns Of The Revolution did since that time and what exactly are they doing now?
We keep in touch and even do the occasional gig, we played at The Glade Festival last year. Dick is still making trance music and does a lot of DJing and Neil has a very successful jazz trio.
27. What is your personal opinion about the level of art of the goa music?
It's more a lifestyle than a form of art.
28. All right, so I will ask you about the level of art of the psytrance music.
That is so hard to answer - but so long as people keep on immitating and replicating or using formula to create tunes - it's not art, it's commerce. When any scene is underground or in its infancy it is artistically purer - when it becomes commercial and when the press get hold of it, then it tends to lose its purity.
29. What did you do in your life between the era of Green Nuns Of The Revolution and the era of creating your completely new musical idea: Absolute Ambient label?
I borrowed some money and set up my own studio. I read a lot of books on the healing power of sound and music and I wrote music for TV to pay the bills.
30. You have did a big changing - from the goa to the ambient style there's a huge gap in the emotion of sounds and technical work. I bet this have a connection to the change of you as the person.
Of course - I needed space and peace and wanted to explore a more meditative approach to life, the music reflected this.
31. How much from the old Matt Coldrick (from the goa times) was in you when you created the label and how can you describe yourself now in this aspect?
It was a natural progression from one to the other. Essentially it was and is the same person, what's changed is the way I live and look at life, but all the knowledge and experience from The Green Nuns is put to use on the new project. Nothing is wasted.
32. Your first release from Absolute Ambient - "Music For A Busy Head", 2001 - is a very minimal ambient. I was really surprised by this album - it's not a masterpiece but you warmly felt the ambient idea. What was your inspirations for this CD? Tell me about the history of creating it.
To me it is a masterpiece because it's so simple and so well defined. It was inspired by my study of sound healing and by meeting a spiritual healer. It was created very quickly, in-between doing themes for TV programmes.
33. Your second CD - "Elemental Journey" released in 2005 - is the work with Matthew Hillier. How did you met him?
I think I was introduced by Andrew at Interchill Records.
34. The album musically goes for more chillout zones than the previous one. This direction was in your head before creating the CD or in the working process it goes in this way and your idea was different?
I'd never worked with Matt Hillier before so I had no preconceptions as to what would happen. The way we work together is unique and has its own organic pattern.
35. This CD was done via internet. It was the first time when you created in this way? You liked it? In the rating of 1-10 how did you rate a pleasure of working with the other artist via internet and in the traditional way - in the studio?
Yes, I loved working like this. It gives total trust to the other person and is a very green way to work. It's an 7-8 out of 10 process. Being in the studio with the artist can be just as good so long as each person has a defined role.
36. In 2007 the third CD in Absolute Ambient discography was released: "Conscious Pilot" as Pan Electric. The album is definitely a big change in the direction of the style you are creating via your label. This time we see also many more and musically different (not only the ambient influenced) artists in the credits: Pete Lewinson, Charlie Roscoe, Heallenour Webb, BJ Cole, Dan Burke, Duchess, and two artists that collaborated with you on a full CD in the past - Neil Cowley and Matt Hillier. Describe, how it was to work with them in the sense of creating your conception? Or maybe there wasn't one specific conception and you simply work together and this beautiful album was born?
It took nearly three years to make and there's maybe 4 or 5 tunes that didn't make it on to the album. So it kept on changing shape. I wanted to work with other people so I kept on asking people to come and work with me. It is more fun and gives you more options to use other people talents and soulfull input.
37. Which track from "Conscious Pilot" is in your opinion the best from the technical point of view? The one track that you're especially proud of.
The one that touches my soul the most is "Zumaware" which is a co-write with Charlie Roscoe (Jairamji). I don't judge by technical competence or complexity but by that which moves my soul.
38. "Conscious Pilot" may be described as a kind of multi-instrumental music... On which instruments you can say that you can play?
I'm a guitarist and have been since I was 7 years old, but in a modern studio a technical knowledge and some keyboard skills are essential.
39. There was a provocation in one of the programs about the culture in the TV I saw maybe two years ago. The guest - art critic - was asked about the man who did a provocation in the museum: the man had did a pooh there and said that this is the art because it's a thing of human creation... What would you say in the place of that art critic in the studio?
I am laughing at the idea right now... so that is my answer! If he sculpted his turd (excrement) a little and maybe put it in a frame it would have said more!
40. What exactly is ambient?
Brian Eno described it (and he invented it) as music that must be able to hold the attention of the listner and also be totally ingnorable.
41. But what's your personal definition?
I can't do better than that.
42. Who are your ambient masters and which of the album you ever heard in this genre are your favourite?
Brian Eno, Ulrich Schnauss, Biosphere, William Orbit. No one favourite.
43. Similiar question to the one from the past - what is your opinion about the level of art of the ambient music?
Ambient music is more abstract by nature and therefore lends itself to more experimentation. It is as artfull as the person making it.
44. If I compose one short note on a piano and the composition will start with this sound and then will be nothing for 10 minutes - it'll be for sure the ambient as "the background", but is this will be the ambient as "the music"?
If you could be bothered to spent time and energy convincing the rest of the world, you could call it anything. But I don't think anyone would take you seriously.
45. Four albums you have in your discography - everyone of them is minimum on the very good level in my opinion. Which one from them have a special place in your heart?
They all tell a different part of the story and mean something different.
46. Do you have any definite plan for the future?
Lots of plans, but they are all secret!
47. Abstract one. Immortality of your art or fulfilling now your secret dream. What would you choose?
I believe in the immortality of soul anyway so I'll take the secret dream, thanks!
48. Send the message to your fans.
I wasn't aware I had fans... only listeners and friends. (smile)
49. I think that there is a lot of your fans. I'm one of them. Why? Because you decided to create what you feel while many, many artists from - not only my - lovely goa period decided to create full-on sounds and unfortunately most of them (in the meaning of the artistic work) is without the soul. And even some of my favourite goa artists took this way - the easy way into the money. For me - it's very easy to say that they have betrayed oneself because I feel that they are not trying to invent something new. I must say that I didn't liked your goa music as much as from the other artists that are now in full-on scene, but you have intrigued me because of your musical path. This is why I am your fan and this is why I decided to do an interview with you, with "Matt Coldrick". You are doing what you want to do, as everyone, yes, but you are doing it without having the money in mind so it's not easy. Of course your "Conscious Pilot" album is more mainstream than everything you ever did (and even more mainstream than that full-on), but I wish you thousands of pounds from this CD because you are helping the art's soul to grow into something more sophisticated - from many "bricks" by artists from the world we can all build beautiful and more beautiful "palace" of the art. Thank you.
Thank you for your honesty and for your commitment to understanding my path as an artist. So few people realise that change is a healthy thing, not to be feared or avoided. Art is one of the few pure ways the soul can have total freedom of expression - what I make IS me and often a better part of me than anyone sees in the everyday world and so as an artist I simply allow myself freedom of expression. If that means making something that is seen as more commercial then I'm just as happy as if I drew a little picture on the back of a cigarette packet and nobody ever saw it.
