从底特律到柏林 PYRO音乐专访 流浪式的文艺复兴艺术家—Jimmy Edgar

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Jimmy Edgar 是才能，概念，风格超出他的年龄的文艺复兴式人物。在33岁时，去往柏的林底特律人，已经作为一个淘气又神秘又多产的艺人／音乐人，过了三分之二他的魔幻人生。

声音方面来说，本土语言他讲得很流利，从音乐软件和Glitchy地下嘻哈乐，到他平滑签名等等。视觉方面来看，他把自己作为一个受欢迎的导演，摄影师，多媒体艺人，做了许多视频，展览，杂志的工作。

他生于1983年的8月，Edgar以前打鼓、键盘、萨克斯样样精通，同时在做音效处理实验时还是个青少年。为了弥补他的科技能力，他学习弹钢琴然后开始在底特律Baptist教堂感受音乐。15岁时，通过一个赞助人朋友的帮助，他开始与家乡传奇人物Atkins，May，还有Saunderson一起在当地夜店演出。他早期受到音乐，科技，精神和诱惑的影响，促成了他的创造动力。这些聚集到一起，变成了他工作的周期性动力。

Q：你从去的地方和做的事来获得灵感，那么你到中国后有学到一些新的文化和观点吗？

A：有啊，我对中国文化很感兴趣，尤其是历史和古风的东西，我上张EP，Dreams Come True就有点受禅师的启发，然后将之与未来设定结合。

Q：你的音乐史最初是在你的家乡底特律生根，从在施洗者弹琴到在Kevin Saunderson ，Juan Atkins & Derrick May 演出，是强大的资金基础帮助你年轻时获得了这么多成就吗？

A：我确定它有所贡献，不过我的家人慢慢给我灌输了道德观，我年轻时得照顾我自己和我的妹妹。我其实不知道Derrick 和 Juan有名，直到我出了底特律，所以当我年轻时在底特律演出时，我没感激他们对我的影响。但是，现在我知道了。还有我要说的是 Carl Craig , J Dilla，早期和国际团队和Seth Troxler一起被邀请出去。

Q：“Never Stop Being a Student”，这句话你说了无数遍，你怎么选择学习什么还是有组织的学习？你们现在在关注什么？

A：我喜欢学习新事物，和任何帮助我实现目标的东西。现在我在研究几何学和建筑学，一旦我发现我知识中的弱点，我会开始学习来弥补我的的想象力漏洞。我以前学习的东西都是对应的，莫扎特的写歌，巴赫的赞美诗，几何学，3D建模，等等。我爱学习也爱教别人。

Q：：底特律，柏林，洛杉矶，3个你住过的地方，你同意住过这3个大城市丰富了你的音乐风格吗？

A：当然，这像是最后一个问题了，我喜欢吸收新环境新事物。我喜欢住在柏林，那是我真正学习舞曲的地方，我在底特律并没学到这个。洛杉矶让我的音乐更完美，给我的音乐带来了更多的风格和动力。

Q：讲到音乐节，他们跟着EDM快速增长改变了很多，作为拒绝为像Kevin Saunderson或Maceo Plex开场或闭场的人，你现在也可能在Mysteryland和Porter Robinson同台，从一个不同风格的人手机接过控制台对你来说是一种挑战吗？

A：这对我来说不是个挑战，作为DJ我可以接受。当我被这些音乐节作为一个真实DJ邀请时，我感觉像我要去提供些什么，那不是说别的DJ不是真的。这只是说一般人们会期待与众不同的人，我想成为这个人。

Q：EDM迅速增长开始慢慢萎靡，Techno和House舞台更有地位，你觉得这会完全消极影响地下音乐现场吗？

A：我不知道，我觉得电子乐现在总是对地下音乐敞开大门，但只是那些选择来看艺术的荣耀的人们。这都是一些观点，每个人都有自己的观点，我尤其不喜欢参与亚文化群，因为我在试着走我自己的路。

Q：你更喜欢在音乐节表演还是在夜店演出？

A：我都喜欢，在大舞台演出，感觉很棒，尤其是你知道他们都很喜欢这音乐，甚至他们不知道你是谁。这在不可思议的变化着，当然，夜店演出也是最好的，因为私人空间是最真实的，你在夜店不用准备太多，事实上你越努力越可能失败，夜店是一个探索的地方，音乐节则更实际。

Q：在中国有很多有追求的制作人，但他们没有像其他地方的人有Youtube等资源，你对这些人有什么建议吗？

A：有志者事竟成，我现在33岁，我年轻时也没Youtube，虽然我现在用它用得飞起，但是你只要想要，总会找得到的。

Q：Jimmy Edgar下一步是什么？在做什么，年底了有什么目标吗？

A：正在做我目前最好的专辑。

Jimmy Edgar is a renaissance man of talent, ideas, and style beyond his years. At 33, the Berlin-based Detroit native with a mischievous mystique has been a prolific artist and musician for two thirds of his enchanted life.

Sonically, he's fluent in a myriad of vernaculars, from "software as music" and glitchy underground Hip Hop to his signature glossy, erotically charged robot funk. Visually, he's established himself as an in-demand director, photographer, and multimedia artist with an impressive roster of videos, exhibits, and magazine work to his credit.

Born in August of 1983, Edgar was playing drums, keyboards, and saxophone, as well as experimenting with sound manipulation by the time he was an adolescent. To complement to his technical prowess, Edgar learned to play piano and "feel the music" in Detroit's Baptist churches. By the time he was 15, with help from a promoter friend, Edgar was spinning alongside hometown legends Atkins, May, and Saunderson in local strip clubs and raves. His early exposure to music, technology, spirituality, and seduction informed Edgar's creative impulses profoundly, and their confluence has become a recurrent motif in his work.

Q：You take inspiration from everywhere you go and in anything you do, did you absorb some of the new culture and perspectives whenever you first came to China? 

A：Yes i did, I’m interested in chinese cultures, especially the ancient and holistic style. my last e.p. Dreams Come True is a bit inspired by the zen motif and bringing this vibe into a futuristic setting. 

Q：Your history with music was initially rooted in your hometown of Detroit, from playing piano at the baptist church to quickly playing alongside Kevin Saunderson, Juan Atkins  & Derrick May shortly thereafter - did that strong foundation help you achieve as much  as you did so young? 

A：I’m sure it contributed but my ethic was instilled in my from my family and having to take care of myself and my sister at a young age. i actually didn’t know derrick or juan were famous until i started traveling outside of detroit, so i wasn’t able to appreciate their effect when i was integrated into the detroit scene at such a young age. however, i see it now, and theres many more to mention like carl craig and j dilla. early days were having out with ghostly international crew and seth troxler. 

Q： 3. “Never stop being a student,” you’ve been quoted as saying multiple times; how do you choose what to learn or does it just come organically? And what are you focusing on presently? 

A：I like to learn new things constantly, anything that will help achieve my goals. right now i am researching geometry and architecture. whenever i see a weakness in my knowledge, i will obsessively study it so that i can bridge gaps in my creativity. some things I’ve studied in the past year are counterpoint, mozart songwriting, bach chorales, photorealistic painting, portrait photography, sacred geometry, 3D modeling, and much more. i love to learn and i love to teach. 

Q：Detroit, Berlin and LA, 3 places you’ve resided at some point in your life. Would you agree that living in all 3 culturally strong cities enriched and diversified your overall music palette? If it did, then how so? 

A：Absolutely. its like the last question, i like to absorb new environments. i feel like living in berlin was where i really learned about dance music.. i didn’t get that from detroit. LA has allowed me to perfect my art but also bring more range and dynamics into my music. 

Q：Speaking of festivals, they sure have changed a lot with the EDM boom. As opposed to opening or closing for someone like kevin saunderson or maceo plex, you may share  the stage with Porter Robinson at Mysteryland now days - was that a challenge to take over the decks at first from someone with such a different sound? 

A：Its not a challenge for me, i feel very adaptable as a DJ. I feel like i have something to offer so often times i will get booked at these festivals as a sort of “real DJ”, that is not to say the other artists are not genuine. it just means often people will expect something different from me, which i like to be this person. 

Q：. As the EDM boom begins to die off and the techno and house stages take the more dominant role, do you think this will affect the underground scene negatively at all? 

A：I have no idea. i think electronic music these days is always opening a door to the underground, but its only those who choose to walk through who get to see the glory of artistry. its all perspective and everyone has their own. i particularly don’t like to participate in subcultures, as i am trying to create my own path. 

Q： Do you prefer club or festival gigs? 

A：I like both. playing a big stage is such a great feeling, especially if you can somehow get them all into it, even when they don’t know you. its incredibly challenging. of course, club gigs are the best as the intimate space is much more genuine. you don’t have to try so hard in a club gig, as a matter of fact the more you try the more you fail. the club is a space to explore. festival is more pragmatic. 

Q：There are a lot of aspiring producers here in China that don’t have all the resources the rest of the world has like youtube and video tutorials, any advice you can share for this group? 

A：Where there is a will, there is a way. i’m 33 and YouTube was not around when I was younger. Although I use it constantly now, you can find your way as long as you want it. 

Q：Whats next for Jimmy Edgar, working on anything or have any goals by the end of the year? 

A：My best album yet.