While releasing his latest album as The Eye Of Time, “ANTI“, here’s Marc Euvrie talking about the different experiences of his 20 years in music, that built his pure ambient-noise instinct.
After playing in bands, you started The Eye Of Time as a solo project: why (and how) did you feel the need to work on something all on your own?
First of all, I still play in those bands, and they’re still alive! And to be true, I began working on this project, and the name came up, quite at the same time as my bands creation, may be even sooner, around 2003, or something. The first tour I made was a 2 weeks tour with Sugartown Cabaret, and I did a week added with The Eye Of Time. That was my first shows with this solo project in 2006. This thing came up, just naturally. I was already composing songs since I was may be 13/14 years old on piano, or mixed with guitar. I mean, as far as I remember, playing music was also creating songs from my own. Then has been added guitar, and cello when I used to learn them. And when I discovered electronic music, and hip-hop, when I was doing skateboard in the streets as a teenager, I just bought a computer and tried to mix and create some stuff. One day, I just gave a name to it, friends listened, told me I should continue. And here I am. That’s it.
The Eye Of Time is a very suggestive moniker: what’s its meaning for you?
It’s a travel into retrospective memory, past, present, future of humand kind, earth and universe. This open my eyes for my present, to be critical about our time. If you’re carefull about our past, also meaning back as non-human, you can understand your present, and see the future.
How does your previous musical experience influence your solo work?
I don’t know…naturally I guess. There’s no style or bounds to me. It’s just music. Passion, emotions. And most important, sincerity.
Generally speaking, can you describe your creative process?
When I get a particular emotion, I try to put it out instantly. Then I can finish it right after, or work on for months. I’m like a jeweler working on emotions. I try to take place inside the future listener, to know what I should do to create a precise emotion I want him to experience. To be sure my message is passed.
You crossed different artistic experiences: for what definitions might mean, how you would define your music nowadays?
Listening to your albums as The Eye Of Time it seems that “noise” and “ambient” are closer than one might think: how do you relate to these different universe? Do you feel there is a link between anything you’ve done in the past and the music you play now?
Yes of course, it’s related. Everything is connected by art which means sensitive, sincerity, emotions. Anything that deeply touch you inside is art. And not only music. All the beauty of life around, the violence, the experience is art. I just try to mix this mess together. Noise and violence can be beautiful, it depends what it serve. If it’s serve only itself, then it’s not interesting to me.
“Acoustic” has been a somehow unexpected album: are you interested in classical/orchestral music?
I love classical music, and most of it, orchestra! My dream would be guiding an orchestra as a maestro on a song I made. When I will have time for it, I’m pretty sure I’ll work on orchestral writing one day. Most of my the eye of time songs, began with a classical sample. May be all, I have to check it out!
Do you think you can develop to something…acoustic in the future?
As I said right befor, orchestral would be my dream. In the meantime, I’m already doing acoustic shows, with piano and cello, related to my acoustic record.
In the new album “ANTI” there seem to be many different sides of what you’ve done in the past, just summed up in only one record: how’s been the album recording process? Did you have a clear idea of it from the start?
No clear idea, as always. Songs come up, and the record get bilded months after months when I try to learn what my unconsciousness wanted to say with it. If “ANTI” looks like a mix up of my previous work, I guess it’s normal. I’m composing since 20 years, and I’m still learning how to do it!
Is there a link between your music and images? Could think of yourself as a composer for soundtracks?
It is very important, that’s why we always worked hard me and Denovali to have a massive artwork for each record we released. I don’t wanted to have music only for itself. I have things to say. I can’t see art without saying anything, just doing music for itself. Doesn’t make sence to me. This is also my dream, doing soundtracks for a movie. I already did it on small projects, and it was really great!
As a listener, what kind of music did you use to like best over the years? And nowadays?
It has always been Sigur Rós, Portishead, Third Eye Foundation, Bjork, and classical music like Chopin, Debussy a lot. In private I use to listen a lot of ambient, calm music. Today, I’m more on things like hans zimmer’s interstellar, ben frost, etc…I’m discovering Meshuggah even if many people around me listened to it since a long time, and it’s really cool.
What do you think about the way music spreads nowadays through the web?
It’s a hard position, because I have many profits myself about it. For promotion, touring, etc..But anyway, this is really shit. You can’t trust anything, there’s so much fake, sincerity is hard to find on. And there’s so much bands on, so many shitty things, so many good bands, you can’t listen to everything. So, I don’t look for any of it, I just wait that something come to my ears by hazard. There where days when I was young I was listenting to 20 bands, and that’s it. And I knew exactly when was the release date of a new record! Today, you just realise some years after, that you even missed the new record of one of your favorite band!! That’s fucking crazy!!
With all the music floating around, what is making music really worth for you?
A way to travel out of this world. To be what you want to be. To go where you want to go.To say what you want to say. To scream what you want to scream. To cry what you want to cry. Anything you’re not capable to do in real life, but you need to get it out.
full English version of the interview published on Rockerilla magazine no 417, May 2015