INTERVIEW WITH JASMINE GUFFOND
1. Was Alternahunk your first musical project? Could you talk about your Alternahunk experience and how it relates (if at all) to what you are doing now?
BA-KA was my first band, a drums, bass and guitar trio with a couple of girlfriends from highschool. Alternahunk came afterwards. I played bass, manipulated toys and guitar effects pedals. I learned as I played and in this sense Alternahunk relates to my current music practice; it came before and therefore is part of my musical development.
2. Could you talk about E.A.R. a little bit - when exactly was that going on? Were you involved as an organizer, a performer or both? How did the E.A.R. event in NYC come about?
E.A.R. began in 1996 as a core group of four with the idea of organizing a weekly club in Sydney for experimental music. After the first two weeks of running I went to the States to travel and organise shows for my band Hiss. It didnít take long to organize a show in SF so I quickly left for NYC. I sent CDís and bios to venues like the Knitting Factory and the Cooler without getting any feedback or response. I realized that I would have to organize a gig for myself. I discovered a bar venue in SoHo called Void. The couple running it were very open and so I arranged my own night of experimental music. Somehow everything came together and it was a very successful event, musically and by far our best paid gig in the States.
3. What are the origins of Minit - how did the project get off the ground? Were you performing live as Minit with Torben Tilly before the Sigma CD was recorded?
Torben and I had been talking about making music together for quite awhile before we did anything. I had loan of a friendís sampler and a four-track quarter inch reel to reel and we began. We played live in Sydney and Melbourne before the mint:music CD was recorded.
4. What is the working process for making music as Minit? There is a heavy bass presence on the Sigma CD - is that you responsible for that?
Neither Torben nor I are responsible for particular frequencies in Minit. There are so many twists and turns and accidents during the process of making Minit music that it is difficult to recount without reducing it to simply sample based manipulation which I suppose is broadly what it is.
5. What about DJAZ - are you still DJing? What would a DJAZ set consist of?
I occassionaly DJ and content varies. I like to mix different sources together to create a new music - a process that may be limited by the technology at hand. Torben and I sometimes DJ together. Dion Workman organised for us to DJ at Dodarama on a Ritornel label night in Rotterdam at the end of our last tour in Europe. While we were in London we made CDRís of Minit loops to mix into our set which weíve subsequently used.
6. Was there a particular reason why 'cC/bB' was issued as a vinyl record? Was the music composed to fit the vinyl format at all?
We both love vinyl and the compositions were shaping to fit a 12" EP.
7. What are you working on now (musically and otherwise) outside of Minit?
Torben and I are planning to release music on COS records. We would like to do another 12" where we compose for a side each. Iíve been making music with Torben, Helen Johnstone and Yuri Frusin from NZ band The Garbage and the Flowers. We would like to record ourselves. Iím also working on a remix of The Strokes for a compilation of electronic remixes of The Strokes.