Interview: Dean Dennis

Like an anthropological study of the essence of the city, Dean Dennis transformed himself into Nohno and created the album Metropolis. This Nohno project sees Dennis demarcate a distinct transition from the past 20 years of musical output, after spending years in the now legendary electro band Clock DVA or steeping in heavy techno as Sector.

Infusing deep thoughts, messages between the lines, cinematic arrangements, hints of jazz, haunting voices and ambience, especially ambience, Dennis, along with his production partner Jose, has soundtracked the city. Sitting in the subway station with your headphones on and you can hear someone’s conversation among your music. The city nightlife with a 4/4 beat.

Up and coming film maker Tim Cahill checked in with Dennis to talk musicality in relation to film and how "Metropolis" seems to be a soundtrack to a film not yet made.

What sort of role did music play in your development as a child or young adult?

My parents were from the Caribbean so there were strong influences from them. They had varied tastes from Elvis Presley, Rolling Stones, Chuck Berry, Nat King Cole, Ska and some old style Reggae. When my father was in Jamaica he had his own soundsystem, but unfortunately he didn’t talk much about this. Church was also important to them so from a very early age I was exposed to Gospel.

What is the most pertinent influence on your musical creativity that can be traced back or carries over from your early development?

It is hard to narrow this down; there are still the traces of influence that go back to my teenage days, for example dancing to Northern Soul, Ska & Jazz Funk. Rhythm is a strong element in my music. I love a good groove.
Punk had a pretty profound influence; this opened up music and gave new energy and the New Wave that came from this had a powerful effect upon me.

What are you most pessimistic about when you consider the current state of popular music?

There is a lot to be troubled about, but then there always has been. The dominance of the major labels still continues which means that music becomes lead by the goal of making cold hard cash. You end up with Popular Music that is manufactured for the masses, that doesn’t have music at its heart. Money & creative innovation in the arts are seldom good bed partners. There also seems to be this general craving for fame and celebrity and wealth and there’s the myth that music is a cheap ticket to get you there. I am always amazed by the hoards of people that audition for programmes such as the Xfactor.

What are you most optimistic about?

I’m optimistic that there is a new ethos of DIY amongst musicians. Technology and the ease of global of communication have the potential to give us the power back. There seems to be a new democratic process emerging, artists can forge links and creative alliances, set up their own labels, we can have our music listened to without relying on the majors “buying” us a slot on the radio. All this can only be good for innovation and surely must enable musicians to follow their own direction rather than being lead by the nose. Perhaps we are now in a new era of Punk music - this time it’s Cyber Punk and hopefully we can all play our instruments!

Do you endeavor to reinvent or redefine the way music relates to film, or are you satisfied with simply invoking what has long been a beautiful tradition inherent to way sound compliments moving images?

Hmmn a complex question. Film is so much the sum of ALL of its parts. When I watch a film I don’t and can’t separate the two. It is difficult to imagine Blade Runner without the Vangelis score, Sergio Leone without Ennio Morricone to name but two examples. Film has always been a powerful influence, so much so that I think it has become almost subconscious in the way we work. Perhaps we are making the scores for films that have not or are yet to be made.

How do you reconcile the seemly paradoxical conflict between one's intuitive need for artistic autonomy and the benefits of the collaborative process?

With a lot of shouting and foot stamping! Seriously this is a good question. The balance is a hard one to make, particularly for me because of the way I work and the speed at which my ideas come. If I have some new inspiration I have to set it down and start to develop it immediately otherwise I’m plagued by it. This is not easy if you are working with other musicians. I’ve had some great experiences of collaboration, but there is always the struggle to assert your own musical “aesthetic”. Working with Jose is good because there is a deep understanding between us on a musical and personal level, she also brings fresh elements probably because she comes from a different creative field and is creatively very open. She’s also a good judge of when something is a successful piece and not afraid to say when something is not working.

Are your songs ever perfect or "finished," or are you constantly thinking of new ways to improve them?

I don’t think any song is perfect. Once you’ve reached perfection where is there to go? In every creative process you walk a tight rope: there is the need to make something the best you possibly can, with the danger of working it, reworking it, adding this, adding that, changing this changing that until eventually there is nothing left of the original essence and all you have is something that either is soulless or is just utter chaos. I’m really interested in working with remixes as a way of developing songs and collaborations.

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"Metropolis" is out now on Out To Lunch Recordings.