Max Lilja is famous in the metal scene as one of the founders of
Apocalyptica and Hevein, and as a musician with Tarja Turunen. But this musical
centipede ventures in any possible musical style. On Coalescaremonium, he will present
his solo project, in which he mixes layered cellos with minimalist electronics.
We had an interview with someone who dares to color outside the lines.
Dear Max. You are
known as one of the founders of Apocalyptica, a band who has gained
international recognition, and later on with Hevein. Why did you decide to
start a solo project?
Hello all! I was
always interested in finding something new in music and in the ways of making
music. Already after Apocalyptica I had a vision about an electronic cello
project, I was always quite open minded when it comes to music genres and I was
digging electronic stuff already in those days. It then took many years of experimenting
to find a satisfying way of making electronic music using the cello as the only
sound source.
You had a
classical schooling in cello, but you really sought and achieved to play cello
in formations that are unusual for classically schooled musicians, first in
metal and now in electronics. How do your partners in the classical music world
react to your other projects?
I’ve actually
grown a bit away from the classical world and see myself more as musician than
as a cellist. The classical world is still full of puritans that from the
instruments point of view will never see any value in what I or other like
minded people do, but gratefully there are many that think differently and
understand the importance of musicians who bravely follow their intuition
without being limited by the tradition. For me, it's kind of the only way to
create something new.
A big difference
with the music you play in several bands is that you stand all alone on stage
now. How do you deal with that aspect?
My live set with
all the looping and stuff is already technically so demanding and in that sense
very high risk. It also requires a 100% performance from the playing point of
view in order to deliver the magic, so there really is no loose time for anything
outside of the music. It is indeed very different from playing in a band where
you get the energy also from playing and interacting with other musicians and
especially in rock and metal where it’s full on all the time. Now it’s just me
and the audience but I’ve been playing an instrument since I was 5, and I have
been on stage alone already at that age, so in that sense this is nothing new.
The main
difference - however - seems to be the use of minimal electronics in your solo
work. Did you feel that there was a different approach in the compositions in
comparison to other projects?
It’s always
different depending on the concept and the people working on the music. I now
have two solo albums out and the 3rd is coming together as we speak. The vision,
songs and arrangements are ready. It just needs a little bit fine-tuning and
I’m ready to record it in the coming months. The processes behind the three
records have been very different in many ways. For instance the 2nd I composed
entirely on cello, the 3rd with piano which I then arranged to cello. When I
arrange my solo material, though, it’s all cello. I think almost as if there
was a normal ”band” that I’m writing to. I have used almost same kind of
elements and ”instrumentation”. As said earlier I always try to renew and think
fresh.
You play with all
sorts of bands, both in the studio as live. Will you play any style of music?
Do you make a selection of the bands you want to work with?
I’ve always been
fairly open minded for music and honestly, in todays world as a free lance
musican it’s better to do the gigs if there is some available. I’ve been very
lucky to have been able to mostly work in projects where I enjoy the music and
the people around it, like the work with Tarja Turunen.
You recently
started experiencing with the Halldorophone, an electro-acoustic
instrument with resonating strings. What are your plans with this instrument?
The Halldorophone is a true beast. It’s so powerful and I’m really impressed about it and want to explore it more. I’ve written a 15 min piece for it that I’ll perform in an electronic music festival in Finland in a few weeks. It’s a very cinematic instrument. Halldor Ulfarsson, who made the instrument, has a vision of me playing it in the church in Leipzig during the Wave Gothic Treffen. Would be great.
You will be playing on Coalescaremonium
on April 2, an event with a very distinct concept and a great variety of
musicians. Are you happy with the concept? Do you feel affiliated with the
other acts on Coalescaremonium?
I’ve been performing in gothic
events dozens of times in the last twenty years and it’s always been great. You
cannot find that variety of different genres of music and other performing arts
almost anywhere else, not to forget the respect the people have towards the
artists. It seems that - for Coalescaremonium - all the acts are hand selected
for a particular purpose in order to build a very unique memorable night. I’m
very grateful to be part of it and can create the magic of the music together
with the crowd… one of the important elements for our hearts and minds in these
devastating times. See you in a couple of days!
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