karda estra

"I see my music as my signature and my feelings about life"

Interview to Richard Wileman

By Sergio Vilar

Is Karda Estra the same thing that Richard Wileman to say or are two different things?
Yes, Karda Estra is my musical alter-ego. My solo project, really. Despite writing the bulk of the material in my previous band, there were still constraints of being in a live band line-up. I’d had enough of this by 1998 and decided to do something that I could concentrate on which had no restrictions. So I fully indulged my interest in progressive/classical/soundtrack music as well as other artistic influences such as surrealist art and gothic literature. I play all the instruments I feel able to achieve a professional recording standard as well as using several superb classical session musicians. I very much wanted to be in complete control of every note and production idea. I’ve found that my recording has become more like painting than performing and this is the route I wish to explore more and more.

When did you have the idea of undertaking this project?
The seeds of Karda Estra go right back into my previous band Lives and Times where I did work on atmospheric, quasi-classical instrumentals as well as songs. Being able to do the kind of complex recording I do with Karda Estra came about as a result of me getting my own hard disc recorder and setting up my own home studio in the winter of 1997. I haven’t looked back since and have been able to indulge so many interests ranging from experimental production ideas to recording beautiful orchestra instruments that were previously outside of my budget/logistics.

By what are you inspired to create your music?
The majority of Karda Estra music has been inspired by various sources - creating suites or even full concept albums. The latest "Constellations"  was inspired by a no small amount of nostalgia on my part and I wanted to put the feeling of our own mortality into music. So I used some astronomical constellations that had relevant ‘time and space’ connotations as a vehicle. In fact the idea of mortality runs through most of what I do - "Eve" was inspired by a gothic novel "The Future Eve" which depicted the tragic consequences of a man made female "android". I picked several paintings for my "Surrealisms" suite which also feature youth and death a lot. I have several ideas for future albums that will continue the mortality thread. Hopefully, at least one more will appear!

It is what you look for to transmit through your albums?
I see my music as my signature and my feelings about life. It’s a balance between trying to write something with great beauty/joy and sadness really - I blur the boundaries between melodic and avant styles to lesser and greater degrees. 

How do you feel that goes evolving your music? What road are you travelling? 
As well as trying to convey the above feelings, I am also on my own pure musical journey exploring new instrumentation, production and compositional ideas. There are still so many things I want to do. In this respect, I would rather learn my on my via own trail and error  rather than involve a "professional" producer. Don’t get me wrong, I am open to ideas and criticism. I have a few trusted people who do give "backseat" advise and who definitely don’t hold any punches! 
Ultimately however, I’m travelling my own little awkward, yet very rewarding road of musical discovery.

Which is the compositive method that you habitually use?
Since I first started to get into music, I’ve had one major obsession - chords. Harmony holds the key to some very specially, indescribably beautiful place in my opinion. And this has stayed with me till this very day. When I get the chords and initial melody right, I can then work on rhythm, arrangements, everything else. Harmony is the backbone of what I do.

What is it that more it seduces you of your work?
I’m not sure any more! The days of doing music for pure fun are long gone - it’s too much hard work! I can safely say I’m driven and my inspiration is often pure compulsion. This is not to say that there aren’t moments of happiness and achievement, because there are. But I don’t think it should be easy and I certainly don’t find it so.

The previous year you published “Equilibrium”, a disk in collaboration with Artemiy Artemiev. How was that experience? Do you plan to make more works of that type in the future?
That project was relatively quick and experimental. Artemiy is a wonderful ambient/avant composer who I very much admire. His music is very different to mine and I think the blending of styles worked into creating a great album - quite different from our each of our own outputs which made it a valid exercise, but still enough of our signatures left too. Artemiy has asked me to do another which I’d love to, time willing. As for other collaborations, who knows. I’ve become more open to collaborations and cover versions (I covered Steve Hackett’s "Twice Around The Sun" on "Constellations") because it helps draw me out of myself from being just totally in my own head.

Personally, which are your favourite works, Richard?
I tend to like waltzes so I guess I’m fond of stuff like "John Deth" and the "Eve" title track. But I don’t have any real favourites. Plus I can go for great lengths of time not hearing works I worked on so intensely. "Constellations" is still too new for me to have an opinion. I was  proud of the title track on "Equilibrium" as it has one of the most serene atmospheres I’ve worked on.

How do you see to the current musical scene of UK? 
I don’t really have any opinions on scenes - geographic or genre. I just know it’s ridiculously hard for me to get publicity/airplay with the style of music I do which I believe requires sensitivity and imagination in the listener. Something which doesn’t fit in with 99% of UK music magazines and radio stations. So I guess my opinion isn’t that great!

Usually, what music do you accustom to listen?
A fairly wide range actually - from classical to lounge, prog to indie - many things - as long as they have good chords!!! I think it’s important for me to have wide musical tastes - it helps to keep fresh inspiration for my writing. I could be listening to Burt Bacharach in the morning, King Crimson in the afternoon and a James Bernard Hammer Horror soundtrack at night. All great.

Something that has surprised you lately and that you can recommend us?
Last week I got the Alamaailman Vasarat debut which I’ve been playing constantly. Very good album. 

Which are your plans for the present year? 
To spend a few months promoting "Constellations". I need to try a get Karda Estra better airplay and reviews etc. This means no composing or recording for a while and this is ok - I’m enjoying the rest. At the end of the year, I’ll probably begin work on a new album. I have three ideas so far - not sure which will make it, but there is plenty of time to decide. I’m more concerned people get to hear "Constellations" and the other Karda Estra albums at the moment.

Thank you Richard, do you have some message for our readers?
Thank You, Sergio for this interview and helping spread the word. And a big "congratulations" to all your readers who made it to the end of this interview! If you're intrigued by what I’ve said, you can hear Karda Astra at:
http://www.mp3.com/kardaestra and http://www.mp3.com/keconst