Os 65daysofstatic são um quarteto britânico natural de Sheffield, que regressaram este verão aos discos com “No Man’s Sky: Music for an Infinite Universe”, um álbum que serve de banda sonora para um dos mais antecipados videojogos do ano, do mesmo nome.
Ao sexto disco de originais, os 65daysofstatic são hoje donos de um registo bem próprio, que desafia categorizações e desafia, constantemente, as fronteiras entre a música electrónica e o rock mais clásico. “No Man’s Sky: Music for an Infinite Universe” compila esse caminho e apresenta dez canções originais que abrem as portas à pergunta “a que soa o som eterno?”.
A banda passa por Portugal brevemente para dois concertos: primeiro no Porto, a 26 de outubro, onde tocará no Hardclub, e no dia seguinte em Lisboa, dia 27, integrados no cartaz do Jameson Urban Routes. Aproveitámos a ocasião e fomos conhecer um pouco mais sobre a banda, numa entrevista para ler de seguida.
Why 65daysofstatic? Is there a story behind the name choice? (I tried to search about it over the past years but I never found something official)
The real question is: why not 65daysofstatic?
What are your musical guilty pleasures?
What could it be about music that makes me feel guilty about listening to it? If it’s how I’d be judged by my peers for listening to something deemed uncool, then that’s no way to live. What a waste that would be.
What are the main differences about writing a game soundtrack album (which is pretty long: almost 2 hours of music) and a regular one? Is it easier or harder?
This isn’t quite correct. We made a game soundtrack that lasted for an infinitely long time, and then an album that is a regular album, but also a soundtrack album. The album was always intended to stand alone, without needing the context of the game to make sense. I think we have achieved this or, at least, I hope we have. The game soundtrack was built to be most effective in its primary form, which is inside the game itself. It could never exist in fixed, recorded form, so we never even tried to do this.
And did they (the game creators) gave you some guidelines or you were creatively free?
We were pretty much left to our own devices. They didn’t want ‘the soundtrack to a game’, they wanted the soundtrack to the game to be ‘a 65daysofstatic album’. Which was an unlikely brief, but we weren’t complaining.
I suppose the fact of it being a double album is not only about the duration. Can you explain us the differences between both sides and the reasons to keep it like this?
The first album is a more conventional collection of linearly arranged songs. It flows how we wanted an album to flow in an usual sense, for about 50 minutes. The second disc is soundscapes. They are more representative of the in-game soundtrack in some respects, specifically their arrangements. Nevertheless, they are not exactly the sounds from in-game. They are their own experience.
How did you got involved in the process?
Hello Games got in touch about an older song of ours (‘Debutante’ for our 2010 album We Were Exploding Anyway), to ask if it could soundtrack their launch trailer. After exchanging a few emails, it became clear to us that this project they were talking about was something that would be perfect for us to get more involved in, if they wanted us to. So we asked if they had anybody onboard to do the soundtrack yet, they said no, and so we just kept talking.
And what is the feeling of playing with a game that has your songs on it?
We don’t have playstations, so haven’t really had much chance to play it for more than a few hours. It’s a nice feeling to think that probably a million or so people will have heard our music though.
Will you play some songs from No Man’s Sky live or it will be just exclusively a studio work? If yes, should we expect hearing it in Portugal?
There’s a whole bunch of it that we’ll play live yes, and so will for sure be playing some in Portugal!
For you to make a game soundtrack I suppose you heard other games soundtracks. What games inspired you to do this and what game soundtrack marked your life? (I would choose Tzar or Pokemon, but I am a lot younger than you)
Are you calling us old? You suppose wrong anyways. A couple of decades ago you could have said that ‘video game music’ could be a genre of shared compositional techniques or instrumentation. This was because you couldn’t get high fidelity recorded music into a game, it had to be created on chips of varying capability. We have long since left that era behind. Nowadays, as far as sound goes, video game music can literally be anything you can imagine. So we were no more influenced by game soundtracks in this respect than any other kind of music.
What was interesting though, was the possibilities of messing with malleable form, like the iMuse system used in the early Lucasarts games, for example. So not the sound of any particular video game music, but the scope for generative music they allowed us to explore.
And now, some direct questions. What are your favourite bands? The ones that really made you go like “Damn, this is really good, I’m so going to start a band” / I want to start a band.
New Order. Orbital.
And the ones that impressed you the most over the past few years?
Bjork. Nick Cave. New Order. Algiers. Lorde. Autechre. Rachmaninoff. ALL JAZZ.
What are your favourite sci-fi movies and your favourite movie scores? (Personally, I think sci-fi movies are the ones with best scores – Star Wars (John Williams), 2001: Space Odyssey (John Williams), Planet Of The Apes (Jerry Goldsmith) and even the epic score of Interstellar (Hans Zimmer), just to name a few.)
Back to the Future.
If you could pick/choose any place to play where would it be? And now that we are talking about sci-fi, would you like to be the first band to play outside Earth?