Tannhäuser is a XII century German poet and gives name to a Wagner’s opera. Maybe all this characteristic Aryan obscurity has shaped the music of a Sevillian band that shares name with the afore mentioned. Enveloping sounds, hypnotic, atmospheric and tinged by a monochromatical range. Since their beginnings in 2009, they have released two LP albums (“Para entonces habrás muerto” and “Voces”) and an EP (“Movimiento Estacional”) and their music could be labeled into that genre that came up in the early 70’s Germany: krautrock. Throbbing rhytms, dense and electric that unveil minimalist, experimental and “drone” echoes. We do not know if Tannhäuser uses the Japanese math-rock formula, but they handle musical textures, intensities, tempos and harmonies in a very correct way and this own formula has allowed them to participate in renown festivals as FIB or Primavera Sound.
– Tell us how and when Tannhäuser started.
Each of us has had our past with other groups in Seville, so it is not our first band. We are linked by the eagerness to play. The beginning of Tannhäuser was in 2006, Iñaki and me (Rául) started to play with two other friends which are not in the line-up anymore. Then Eduardo (drums) and Juanlu (bass) joined the group.
– What are your main musical influences?
Stereolab, Yo la tengo, Tortoise, Mercromina…the majority of our influences come from the late 80’s and the early 90’s. Talking about influences is always a relative issue because each of us have different ones.
– What can we find in your last álbum “Voces”? What is the theme? What does it sound like?
It is complicated to find a general frame in which we can place the record. When we compose we do not start from a metaphorical concept, we do it from little pieces that some of us bring, or some improvisations. We do not like to determine what it is about. As it is instrumental music I think everybody has their own interpretation.
– How was the composition and recording process? Any experience or anecdote to highlight?
The recordings are loads of fun. We share space and ideas during 20 days and we witness the project shaping. All the process is intense, but if the composition is something relax for you, then you have to work a lot in the studio. There is a lot of tension and uncertainty, but when the pieces fit everything is very comforting. The best moments always happen in the kitchen or during the lunch.
– Is there any evolution since your beginnings with your first LP until this last one?
We have gained a lot of experience, as much in the the treatment of the sound as in the security we have while doing things. That is reflected in the fact that we have gone to the studio with our ideas very clear and we have felt very comfortable at the time of recording. The first album was more violent and diaphanous. This one is more violent and noisy and it is done with less insecurities. The final result is more well defined.
– Artists that you love and you would like to share stage or collaborate with.
Honestly we prefer to see the artists we love up on stage while we are in the audience. We do not find a strong reason for playing or collaborating with them.
– Do you think that nowadays there is a rebirth of the post-rock genre and all of this ambient and krautrock wave?
We think that musical styles are created by musical journalists. Examples of post-rock can be found in the 70’s and for example, garage is played nowadays, but it comes from the 60’s or even from a previous time. We think that external factors make a genre rebirth. In the end, it is about doing what you like in an honest way.
– How easy is to play that kind of music in a country like Spain? Is there a wide audience? What is the response like?
For us it is a bit complicated. We have a small audience, but very faithful. It is hard to become the line-up of a festival if you do not have a good marketing behind you. But when we got some people seeing us they are really satisfied with our concerts. We sell a lot of records after the gigs, that is a good sign.
– Is there any concert that you remember in a special way? Any venue where you would to play?
We remember in a special way places like Teatro Central of Seville and our participations in festivals like FIB or Primavera Sound. We would love to play abroad. We think there are loads of foreign festivasl where we would fit very well.
– Is there any amateur band in which you see a great deal of talent and a big national and international impact?
Youth Lagoon. En Nacional, The Royal Landscaping Society from Sevilla.
– To play in places like Primavera Sound or FIB has given you…
Being able of living in an enormous festival from the inside it is a bizarre but loads of fun experience. And especially, really recommendable. Apart from that, we have obtained some experience in the musical world too.