10 questions - interview with Jurica Jelić

Jurica Jelic is a self-taught composer and instrument builder whose speciality is acoustic improvisation and modern, contemporary composition. Croatian born trickster of finding harmonies in microtonal frequencies gives a great outlet to his imagination by using mainly fretless guitar and self-built instruments. Here is his moment to shine.

1.People who compose or improvise within a framework of modern contemporary improvised experimental music cite some experiences with music or in their life as the factor of inspiration? What about you? How did it start with making music in your case?

Oh..I really don't know where to start. I suppose my entire life is an inspiration for my work. “Composing” started early for me, I remember when I was 8 I would strum chords and make my own songs. Later on in my life when I got serious about it, music became a way of expression and self realization. Idk, making music for me just feels right, nothing more to it.

2. The world is going through probably one of the worst moments of history, rather than the end of the world I think we are about to enter a new dimension of thought. what moves you going out of bed every morning? What are your thoughts on the status quo of things?

Well when it comes to world we live in, I'm quite loud about it. Things really look very grim at the moment. But what makes me happy is a fact that more and more people are being aware of who real enemies are. Banks and corporations rule the world. They own the governments and media, that under their direction twist people's perception of the world. And actually you only have few psychopatic individuals behind it all. But thanks to good connectivity between people, internet and social networks things are changing. And as we speak people are taking action against it all! Let's just hope, globalists and elite won't destroy the world before we can save it.

3. How does your music resonate with your personal philosophy ? Do you try to separate sociological/philosophical aspects from your music, leaving it rather to a vast terrain of associations generated by a listener's mind?

When I write music, I try to make it universal as possible. As music should be, with no cultural, social, class ...etc. aspects of it all. I want my music to be a sonified presentation of my inner struggles, dreams, aspirations and many other segments that every individual on this planet shares. But as we know only 5% of human activity is conscious and 95% comes from subconscious mind, so I'm sure many things creep into my work. Which gives it flavour I suppose. 'Cause fundamentally art has always been a reflection of society. One way or another.

4. Nature vs. Culture. Who is an artist?

Culture is just an part of Nature! Bodily part of human being itself is nothing more than a collection of cultures of individuals cells. And cells itself are a culture of other elements. So culture is just one small part of nature. Which makes me think, when humanity starts working together as one entity what might happen. When we truly become culture without auto-immune disease.

5. How would you describe the masculine or androgynous aspect of creativity and relate it to your work?
I think music is very androgynous in its nature. It's all about keeping balance between voices, meters, textures, sound, silence and emotions itself. Fundamentally in my work there are always two voices, that are not necessary audible or in fuge sense. Irrational and rational, nervous and calm, list can go on. I think it's all about creating a balance with “feminine” part, within erratic “masculine” part.

6. Imagine you can create your own island including your dreams, emotions, positive projections. How would it look like?

Small island, with a nice cob house. House that has studio, instrument workshop, library and few other thingies. Wonderful back yard with garden. In the middle of it,  a woman you love is sitting and reading a book. Sky would be a huge dome where my dreams come to life, like a huge mirror for self reflection. And I'd need two teleporter pods. One to teleport me into this world, so I can do few concerts a year. And one that can transport me into afterlife, so I can hang out with cool people and family that aren't around anymore. Also it would be a place where all good hearted people could come and stay!

7. Interaction with other musicians - what is important for you to make a collaboration a worthwhile quality?

Love working with other musicians. It's always new, mind opening and learning experience. No matter what the level of collaborator might be. And most important part is communication and chemistry between collaborators. If you are dealing with an asshole, no matter of craft is worthwhile.

8. Can you relate yourself to any kind of esoteric understanding of your creative process?

Well depends on context of “esoteric” itself. If we see it as something as obscure, or for small group of people, than definitely no. I want my work to be accessible to everybody who wishes to experience it. And to make their own conclusions and emotions based upon it. But when it comes to creative process itself, it is a form of mental and emotional alchemy. Transmutation from one form to another, towards the highest and purest goal. Sometimes I feel than every new work of mine is nothing more than a transmutation of older one. And micro transmutations happen within pieces themselves. And as alchemist I become purified in the process.

9. What does "peace" means to you?
Peace for me means to love yourself. In other words to be with ease with oneself. Believe me if every single individual in this would was to make  peace with her/himself, we would achieve peace in corny sense of the word!

10. How do you communicate with the idea of musical development in the years to come?

Oh that's really a hard one. Things can go in so many directions and yet in none. In the worst case scenario if globalists completely take over the world, I'm not sure if we are gonna have any music at all. But fundamentally I think that 12 tone equal temperament is coming to its end. It was dead in 20^th century already. I mean all the extensive techniques in contemporary music are nothing more than an attempt to compensate for lack of new possibilities with 12 notes within an octave. Also I think arts in general will be more based on human interaction and like they were for millenia. With 20^th century technology we got all these gadgets, recordings, electronics...etc. But that will die out soon. I mean records are dead. And if you post music online, no one really listens to it. They skip through pieces. Human beings want to see and hear human beings perform. It's human nature. So I think live performances both in music, theatre, poetry and other forms will come back to life. Computers will be just cheap studios and something to fool around.