Mark Beazley’s Rothko have evolved and transformed many times since the early days, when we stumbled across 3 bass guitars that would make whole venues shake with their ferocious intensity and ear-battering loudness. Rothko is still led by Mark Beazley’s bass, but recent collaborations with Blk w/Bear and Susumu Yokota have brought other elements to the fore. Live, they have a new vitality born out of a wondrous collection of songs played by a full band. They are a scandalously underrated band in this country, completely under appreciated whilst a load utter ‘alternative’ rubbish is out their selling more records. The latest album sees Caroline Ross on vocals, and another step towards Rothko producing one of the finest collections of music on record in this country at the present time.

How did the Rothko come about to being? (A brief history of the band)

Iinitially from a suggestion from a good friend, Nick Olofsson [of Cay] who suggested I record some of my own music, just using the bass guitar. It grew from me recording using a 4 track tape recorder.

I sent 2 cassettes off to record labels, Domino, who didn’t like it, and World Domination Recordings, a guy called Nigel Adams, who wrote me a lovely letter and offered to get us some shows. So I thought I’d better try and form a band.

I already knew Jon Meade, as he played in the band Geiger Counter, and then I placed an ad in Melody Maker saying I was looking for a bassist for a multiple bass project. I only had a few replies, but when I met Crawford, I hoped and prayed he’d join the band and was delighted when he did.

What previous bands/acts have Rothko members been in?

Jon – Geiger Counter and [after Rothko] Lomax
Crawford – he was in a band with Gavin and Howard of Billy Mahonie and also his solo work, Santa Dog
Ben – Delicate Awol and his solo work M.O.T.H
Michael – Delicate Awol – Defenders Of The Heart
Tom – Delicate Awol – Damo Suzuki Network
Frances – Now – Capitol K – and her own solo work
Caroline – Delicate Awol
Jim – Delicate Awol

For the uninitiated, who was Rothko?

A Russian/American abstract artist, famous for his dense but delicate abstract colourscapes and also, sadly, for committing suicide.

What kind of emotional response are you trying to get from the listener?

Just something that people can hopefully feel a part of. That people can recognise as something they understand, to relate to, and to know that it’s a totally shared thing between us and them, that hopefully there’s no barrier between us and the audience, that we’re all a part of the same thing. I’ll be the first to admit that our music isn’t rock and roll or light entertainment, but I really do hope that people feel like it’s something they can recognise, that it isn’t something they can’t be a part of. Everyone’s a part of the band as far as I’m concerned, everyone who comes to see us play and everyone who buys the records. I truly feel that we’re all in it together.

How heavily involved are you with multimedia?

Not at all.

Not playing gigs/shows in a traditional sense, what do you do in order to make them into an event?

Well, really we just go out and try and play with all our heart and spirit. We used to play the usual gig circuit, and I’m in fact trying to get us more shows and I’m trying to stop being so damn precious about things and just get us out there playing.

I think every show is an event, an adventure. Every single one of them.

How is the mood of your music influenced by the weather? (if at all, sorry)

We put out a 10” single on Belgian label Kraak a few years ago titled ‘Storm Cycle’ so there is some influence I think. But then aren’t most of us influenced by the weather? It certainly has an affect on mood and feelings and our relationship with the world.

What do you think of the city London circa: now?

It becomes increasingly hard to live in London, but it’s also difficult to escape it. There’s certainly a lot to do, but it’s just tough to be here sometimes.

I despise the fact that it’s become such a selfish town, it’s changed very much in the 20 years I’ve lived here, it feels ever more claustrophobic and oppressive. But some people I know love it here, so what do I know?

What is the favourite venue that you have played at?

There’s a few….The 4AD club in Diksmuide, Belgium, Pukkelpop festival, Belgium, The Batofar, Paris, Colchester Arts Centre, Colchester, King Tuts, Glasgow.

How do you rate education versus experience?

They’re both valuable, but I think education is far more valuable, it opens more doors and brings a deeper understanding. I’m not educated at all. I wish that I were.

What do you think of the term/label “avant garde”?

I like it, because it seems to encompass such a wide range of forms and also conjures up many ideas and thoughts when actually trying to visualise the meaning of the term. It can be applied to so many different forms of expression.

What was it like working with Susumu Yokota?

I was in awe when he agreed to work on some of my tracks and when I heard the end results I couldn’t have been happier. It was a dream come true.

What is it like/how hard is it running your own label? How is distribution?

Getting the label started was ok, it was the business side of things that are tricky to deal with, but not insurmountable. It’s a great deal of work and I have total respect and admiration for anyone who can keep a label going.

As for distribution, I’d rather not discuss that if you don’t mind.

What is your songwriting process and how do you record?

I record at home, in my living room, on a G4 Mac.

Very, very simply.

I just have my bass, bass effects unit and keyboard [which I use to play samples and piano etc…] and a very small mixer. I don’t use any outboard stuff like compressors and all the rest of those things you normally find in a studio. It’s all done internally on the Mac. I use Logic Audio to record and I use a program called Bias Peak for final editing. I get my music mastered by an amazing guy called Denis Blackham who lives on the Isle Of Skye.

I tend to write by just hitting the record button and playing bass or keyboards randomly and see if there’s anything afterwards that I can use. It’s an elimination process. Sometimes I’ll keep an un-edited complete take, and sometimes I’ll edit a take into tiny pieces and rebuild it into something entirely different.

I only tend to use a few sounds and concentrate on the arrangement and the actual tones and sounds, especially the bass sound.

It can take a very long time to make something that I’m happy with.

What have been the most notable bands that you have played with?

Susumu Yokota, Edison Woods

What have been the biggest obstacles facing Rothko?

Money. Psychological and physical well being, money, mental health, money. Lack of recognition. It would be far easier if we were from the USA or Iceland or Scandinavia. Money.

Generally, is it essential to be creative? (Have a form of expression?)

>difficult question to answer…I think everything we do is being creative. Just getting out of bed and wondering what to have for breakfast. I envy people who are endlessly creative, real artists who can make a living from their art, but then I think that maybe in that situation, being creative becomes a different kind of necessity, one of need, not free expression. Perhaps I’m wrong, as I‘ve never been in that position to find out if it’s true.

Personally speaking, I find it incredibly hard to be ‘creative’. It’s an ongoing struggle. I’d like to be in a position to be able to devote more time to music, that’s for sure.

What advice would you have for other performers?

From me, no advice. People hate being given advice, most of the time it’s neither needed nor appreciated.

There is one thing, by master bassist Danny Thompson, who said ‘the harder you work, the luckier you get’.

I think that’s good advice.

What are you current listening tastes and what are your favourite forms/styles of music?

I love the recent Bjork album, Medulla. I think it’s incredible. A new cdr by My Winter At Sea [from the USA, who so far haven’t had anything released], Brian Eno and Robert Fripp ‘Equatorial Stars’ Theodore ‘a summer she has never been, a winter she fears’ on Lo Recordings…out soon…Devendra Banhart ‘rejoicing in the hands’ a simply beautiful record, Edison Woods ‘seven principles of leave no trace’ a deep and gorgeously melancholic album.

I don’t really have a favourite type of music, I like and dislike all sorts of stuff. I certainly don’t just like instrumental music, in fact, most of it bores me to tears [literally]. I like a nice song, sung well.

What are you plans for the future both musically and personally?

Personally, to get a proper life, but I think it’s unattainable. To learn more things. To try and understand why. To try and make sense of things that make no sense. To try and find some peace.

Musically, to try to keep moving forward. To play as many live shows as possible next year, and hope that Ben, Michael and Tom don’t become bored with me. I’d be lost without them.

There’ll be a new album out in March 2005, Rothko and Caroline Ross, titled ‘A Place Between’. On the very wonderful Lo Recordings. It’s a very quiet and calm record, mostly vocal tracks. Caroline has a beautiful voice and writes fantastic lyrics. I hope that people who hear it will like it..

I’ve also started work on a new album ’11 Stages Of Intervention’. I don’t know when it will be finished.

Beyond that, I have no idea…

Rothko and Caroline Ross – ‘A Place Between’ is out now on Lo Recordings. Rothko play 93 Feet East in London on 6th April, and Fibbers, York on 18th April.

www.rothkomusic.co.uk
images courtesy of www.moid.be