Interview with Palais Ideal
After spending a lot of time with the album I got the chance to talk with John and Richard a bit about what went into the construction and vision of the record. As well as get to know the artists who created it.
Ken: I did a bit of research about your name Palais Ideal and found there was a lot more to it then I originally suspected. Why did you choose it and what did it mean to you?
(PI) The Palais Ideal – “Ideal Palace” in French – is a strange and eccentric 19th century building that was created by Ferdinand Fernando Cheval, a postman from Southeastern France. He had no formal training as an architect, but collected stones while he delivered letters and built his very odd palace. A perfect metaphor for the desire to create something purely because it ought to be created – which is the foundation of all great art! We love austerity and starkness, but are also heavily into romanticism and bizarre ideas – like building your own private palace!
You have plenty of experience which I feel brought richness and depth to the album. Tell me what you have coming out down the road and what led into it?
(John): Palais Ideal has only been around for two years, but Richard and I formed our very first band together ages ago, playing a mix of prog rock and goth. Over the years, I’ve been in bands performing everything from Latin music to technical death metal. The fact that we both play different instruments and have experience arranging, recording and producing has also helped us to get where we wanted to be. The next big thing for us is the upcoming release of our second album, on which we’ve brought together a wider range of influences than before – from Low-era Bowie and classical music to funk pop and Krautrock. We kept pushing each other in interesting new directions and wanted to see how much
we could expand, while still staying more or less within the post-punk and new wave genres.
(Richard): I have been exploring many different musical styles, albeit all of the darker, melancholic variety. Early new wave and post-punk are my roots, and to create something that references this musical era feels very natural to me. We are trying to keep our musical direction and style very clear, and at the same time looking for ways to find our personal ‘signature’ within the genre. A very interesting journey!
Music is usually not all glitz and glamour. You need to pick moments to fuel you into the next. What is the moment you are most proud of in your career?
(John) For me, touring in Germany with Clan of Xymox was a big occasion – if I’d have known that would happen when I was a teenager listening to their albums, my head would presumably have exploded. We toured the UK last year, which was another wonderful experience. Of course, working with the legendary John Fryer, who produced many of our favorite albums, has been incredible – he’s brought a whole new perspective and has been delightful to work with. We’ve had a lot of great reviews and met some wonderful people through our music, which is highly inspiring. In May, we’re releasing our new album at an event featuring some of our favorite bands – She Past Away, Selofan and Auger – and we’re looking forward to that!
(Richard) I am fortunate to be able to say that there are so many moments that come to mind! For instance: watching Gitane Demone delivering spine-tingling vocals in the studio on a track by another band that I am involved in: Phallus Dei. To have co-written songs with heroes such as Graham Lewis (Wire), David J (Bauhaus), Winston Tong and Blaine L. Reininger (Tuxedomoon), Peter Christopherson (Coil), Edward Ka-Spel (Legendary Pink Dots) and Larboe (Swans). Also memorable is the tour I did with Daniel Johnston, for whom I arranged three songs for big band. A very special programme! As for Palais Ideal: There have already been so many highlights in our short existence! I’m proud of our videos, our releases, and especially our upcoming album.
So one of the things that enamored me with this record was its eclectic nature. Every song has it’s own flavor. Who was your inspiration and how did you make the styles fit together?
(John) I’m a big prog rock fan, especially the early 1970s stuff, such as Pink Floyd, Genesis, Van Der Graaf Generator and King Crimson. On many of the albums from that period, each song would be clearly built around a specific concept, which could be a musical theme or lyric, yet all tracks would be tied together. It made sense to try this approach within a post-punk concept: creating a self-contained little world around the musical and lyrical concept of each song.
(Richard) Before we started, we defined a very clear sound for our music: what kind of drum sounds, synths, bass and guitars we were going to use. The fact that there is a logical connection between these sound elements, allows us to go to the heart of each song without the album becoming incoherent. We are always looking for clarity in our musical ideas and arrangement. Every track shouldbe a strong statement in itself.
So “Seen Missing” was a song that has been playing over and over on my phone all week. The lyrics has such a mystery of a secret message. Maybe it is the double entendre in the name What was going on when you wrote this, tell me the secret?
(John) Basically, it’s about the fact that, thanks to the internet, we currently have access to a huge amount of art, music, writing and more. We can access all of this at any time, from anywhere. Countless great ideas and creations that might have been forgotten forever are available to us. It’s important that we look back and remember all of the people that came before us, re-evaluate what they’ve created, and share our discoveries. A lot of our lyrics are a bit bleak, kind of techno-paranoia “Black Mirror” stuff, but technology can also have a huge positive influence on our lives.
To me seeing a great band live needs to be a different experience than hearing the record. Tell me what you do live that makes it different?
(John) Personally, I’d rather see a band like Motorhead playing than watch some dude behind a laptop. We like to get carried away and focus on getting across as much energy as we can and involve the audience. It’s fun to goad each other on a bit on stage. One of the greatest gigs I’ve ever seen was The Fall, who were completely serious and totally entertaining at the same time. Why shouldn’t post-punk be fun?
(Richard) Whereas in the studio one can zoom in on the details, on stage it’s about the right energy. A live performance is, first and foremost, about communication. To feel connected with the audience is a great sensation that can take you to great heights on stage. Most important thing is to be fully authentic and really go into the feeling of a song. We dive in head first into our shows and people feel that. A live show is about celebrating the moment. We have played quite a lot, hitting the stage just a few months after we started, and we have taken that experience back into the studio and into song writing.
We have talked about something happening lately in dark music. A Renaissance, what do you hear and what does it mean for you?
(John) There are quite a few contemporary bands that are making music that is strongly inspired by the “golden age” of post-punk, new wave and goth, but with a contemporary spin and new energy. At the same time, a lot of the 80s generation of musicians are reappearing, or still going strong. I think people are pretty sick of the generally pathetic, bland and whimsical nonsense that the music industry is forcing on them, and looking for something that dares to ask relevant questions and tackle difficult themes. There’s a kind of grassroots movement happening across different countries, with new labels, blogs and bands that are just ignoring the status quo. Something similar has been happening in the Synthwave scene, and it’s great to see how so many people have picked up on that.
If you could play with one band current or gone who would it be and why?
(John) I think being on the same bill as Killing Joke would be pretty awesome. We have a lot of respect for them, musically, and also because they’ve been doing their own thing for decades. I’d also love to perform with Joy Division, The Sound or one of the Rozz Williams incarnations of Christian Death, although that’ll never happen for obvious reasons. If I could join someone else’s band for a day, it would be early Genesis or Van Der Graaf Generator
This one is for the gear heads. What is one piece of equipment you couldn’t make your sound without?
(John) I bought some late 90s USA-built PRS guitars last year and couldn’t do without them! My Roland Jazz Chorus 120 amp and my Juno and Oberheim synths are pretty inspirational, too. Although we use a lot of hardware and tube gear, we’re both big fans of the UAD hardware and software platforms. However, I like to think that we’d still sound like us if we were limited to a pair of banjos
(Richard) My ’62 Fender Jazz bass is totally the sound that I love! As for synths: My Prophet 5 features in every song we make. The most beautiful synth for me.
If you could use dark magic to span time and steal one dead musician from history to join your band, who would you summon forth?
(John) Bowie! We’d let him do anything he wanted to, obviously… Johann Sebastian Bach on keys would be
quite good, too.
The album: Palais Ideal – No Signal
Please vote for this release!
Band: Palais Ideal
Album: No Signal
Label: Dark Vinyl Records
JOHN EDWARDS: VOCALS, GUITARS, SYNTHESIZERS, PROGRAMMING
RICHARD VAN KRUYSDIJK: BASS, SYNTHESIZERS, BACKING VOCALS, BARITONE GUITAR, PROGRAMMING
Mastered by: Uwe Teichert At Electropolis
Interview and review by: Ken Magerman (Sounds and Shadows)