LS: I respect the hustle. What’s your usual travel essentials when you’re on tour? I basically can’t leave the house without five or six film cameras, the security guys love me.
MC: I usually bring an SLR and a point-and-shoot of some kind. Keep it as light as possible unless I’m working on something on the road, when I might bring some motion cameras along. Getting film safely through some airports is a whole other war. Had any rough times with airport security?
LS: Yeah, I wish I could pack lighter – I admire those who can. I’m pretty indecisive when it comes to cameras, I feel like each camera does something different and has its place and time. I used to get stressed and fight with the security guys, then I just bought a couple of LED-lined film bags to keep my film safe, so I could just chill. Every now and then someone still wants a fight, but it’s definitely easier now. Been getting in the sea much lately? I regularly miss the ocean, living in London.
MC: I just went for a swim at Brighton beach this morning. First sunny day we’ve had so far on this tour. I’m excited to get to the Mediterranean in a week and then meet up with you guys in Portugal the week after.
LS: Nothing like the British seaside! Although the Mediterranean has a special place in my heart, especially this time of year when the tourism quietens down. In my opinion, there seems to be an underlying theme or relation with the band and Mediterranean culture. Is there a connection there, and if so, how come?
MC: There’s definitely a connection between what we do and the sea. I was actually just rewatching the BBC documentary, Krautrock – The Rebirth of Germany, which focuses on Popol Vuh, Cluster, Can, Kraftwerk and all the musicians and filmmakers involved with that influence. There’s a scene in that where Michael Rother explains the parallels between his music and the ocean and rivers he’s always lived near. My father’s family comes from Cape Verde and I’ve always had a close relationship with the sea. I was exploring all those records and films when we started Allah Las. The trance-like rhythms of Neu! and La Düsseldorf really connected with me. I learned to play by drumming along to Klaus Dinger. Iggy Pop calls that version of ambient, “pastoral psychedelicism” – I’d like to believe that we’re a part of that, or that I’m a part of that. That’s also part of the story behind recording Sirenas – being more affected by the natural world.
