"The Screen Behind The Mirror" Interview



Enigma 4

Michael Cretu was interviewed by Nikolas Marten, December 1999
Question: When Enigma was released in 1990, did you believe that this project would last to see the year 2000?
Cretu: I did, actually, it was a 10-year plan. Three albums were planned then and the fourth one for the millennium was supposed to be a "Greatest Hits" album ....

Question: Including a live concert, right?
Cretu: Yes, that's right. But what I was thinking of was one single concert. You need two years to prepare something like this - madness, really, what I had in mind and still do! But I thought, I'd rather use these two years to record another album. It's more fun for me and the people who like the Enigma music.

Question: Enigma means riddle, mystery. When you chose the name, you intended to disguise the author. Does the name still fit after it has lost that particular meaning?
Cretu: Enigma is a term, an institutional word. And I still think it's beautiful. Of course, I'd be amused if people still didn't know who's behind it. But unfortunately some people couldn't keep their mouths shut. That's why I've been trying for years to keep out of the limelight as much as possible.

Question : If you think about the technical developments since 1990, be it ISDN, the internet or the World Wide Web ...
Cretu:... the best thing about the internet is that with all the nonsense people write about every day, you don't have to kill as many trees these days anymore. Because they don't need paper for their nonsense. Other than that I don't like it. In the track "Silence Must Be Heard" I give an answer: "People talk to much for what they have to say/Words without a meaning, just fading away".

Question: I meant that the fact that one musical idea "survived" for 10 years and four albums is more than unusual. Because usually the sounds change in short intervals, like Trance, Techno. Grunge, Ambient, Drum n' Bass, House ...
Cretu: An explanation could be that Enigma has been a kind of music not connected to any trend from the very beginning. It originated like a UFO, landed like a UFO and is still a UFO today. In the last 10 years there has been a development toward a terrible cultural philistinism. But I haven't given up hope that after this millennium psycho drama will have died down there will be the courage to do something really new, not repeating the well-proved. You can see this everywhere, with painting, fashion, film - everyone is only recycling things.

Question: You're called a "musical alchemist". Did you have to find a new formula for "Screen Behind The Mirror"?.
Cretu: "Alchemistic" work means playfulness for me: "many roads lead to Rome" - but you never know which one you will travel. But it's not that I work without a plan and everything just sort of happens. Still I've saved my childlike playfulness: without consideration of loosing, not to be accountable to anyone, but rather do what I feel like doing. Yet this time, too, the basic formula, the basic philosophy of my work has remained the same. That means any album, be it better or worse, has its worth. It reflects my psychological situation, my thinking, my feelings for life at the moment of working on it.

Question: Your themes and subject matters are always absolute questions of humanity; sexuality, death, rebirth, infinity, faith, religion, family, love ...
Cretu: "Screen Behind The Mirror", the album title could almost be a book title by Jean-Paul Sartre. What I mean is, if somebody looks in a mirror, they see themselves the way they want to see themselves. But a lot lies hidden between what people consider themselves and what they really are. And why does everyone always emphasize that I'm talking about sexuality? It's one of the central themes of mankind. It has always been and will always be. This is also true for animals, and even plants... You can't try to ignore the true principle of life as if it didn't exist.

Question: And how do you deal with it content-wise?
Cretu: I suggest, keep it in balance! No matter what you want from life and what you do. The art of keeping the balance is the key for everything. So I chose a technical term for "Gravity Of Love". Gravity - attractive power, magnetism, force of gravity ... These are words describing something human, too: words for feelings.

Question: What's your ideal of humanity?
Cretu: The three principle concepts are justice, tolerance and humility. But I'm talking about the right kind of humility: whether you're the richest person on this earth, the greatest genius of all times ... still you're just a grain of sand in the universe. This insight is humility in the shape of respect toward another dimension which I don't know and can't explain. But I know: it exists. There is something like a "different", "higher" intelligence. Whether it's a cloud, a circle, a cube, whether it's got a moustache, 15 eyes or 13 tentacles, nobody knows.

Question: Philosophically put, you feel humility toward existence?
Cretu: You could say so. But it's really important for me - I call it "Eyes Of Truth" in a song, this paying respect to a greater dimension.

Question: Why?
Cretu: I've really achieved everything I ever wanted - artistically and musically, too. And I have to be grateful for that.

Question: Does Enigma 4 have its own language?
Cretu: If so, it's the language of humankind. I can see how different people react to listening to the new album. My music sends out signals that inspire and touch them. This was also the secret of the first album because it emotionalized everyone the same way, from the Greenlandic Inuit to the Maori of New Zealand.

Question: The antenna Enigma broadcasts sharper signals on "Screen Behind The Mirror".
Cretu: It is broadcasting de-coded now. Too many people think and consider too much. Why should we think so much? Regarding the music, there's a good quote from Paul McCartney: "Recording today, evaluating tomorrow."

Question: What is it the listener gets on Enigma 4?
Cretu: The songs and arrangements are multilayered. The album offers emotional layers depending on your moods and feelings, which you can recognize and which you will all like. That was the first thing I noticed when I had finished it.

Question: What is the "enigmatic" thing about your music?
Cretu: Before I started work on the new album, I was thinking "what new things could I come up with?". I expected a whole lot from myself with the first album already. Usually ideas like that are something like lucky strokes and it's not likely you even get close to inventions like that. That's why commercial success is not important for me any more. I know what the album means. And I am very happy that I, with my graying hair - I'm almost one of the seniors of the business now - succeeded in finishing such a youthful, fresh and energetic album. That proves to me: I'm still alive and kicking. I go about my work as enthusiastic as any 18 year old but with the experiences of 42 year old.

Question: How do you get yourself in the right mood to write, produce and arrange your Enigma music?
Cretu: Well, I've never been as relaxed and easy. You know, I can produce very commercial music any time. Only my goals are different. To produce a brilliant album for Elton John is no challenge. My challenge is this "alchemistic" one. In the beginning there's nothing. And to create something from this nothing is the true incentive.

Question: The vocals on Enigma 4 are very special. As the listener one has the feeling the voices are used as instruments and vice versa, the instruments are treated like voices.
Cretu: Yes. The vocals of "Screen Behind The Mirror" are pure instruments. That's how they're treated, too: not too loud, almost incomprehensible... "Gravity Of Love" is a soloist track. But all compositions are different as are the songs. There is hardly any repetition on the whole album. Neither with the grooves, nor the kind of composition or the harmonious structures. It just worked out this way. And thank God above, he gave me enough ideas that I can afford it not to copy myself. When I'm quoting from other albums it's simply some kind of remembering something but putting it in a new context.

Question: You could string together all four albums: the end of one Enigma album could easily be the beginning of a new one.
Cretu: Yes, indeed.

Question: Two songs - among them the single - are carried by a female voice. Why did you choose Ruth-Ann of the dance project Olive who had a number one hit in England with "You Are Not Alone".
Cretu: It doesn't have anything to do with their success. It's her voice alone. The newness, the freshness of it, this youthful naivety - in the positive sense of the word. I hadn't heard this before. Ann-Ruth can do incredible things with her voice. She can sing as high and powerful as Celine Dion, as low as Annie Lennox. And there's something of Chrissie Hynde (Pretenders) in her, too.

Question: That sounds as if you preferred British voices. Do you prefer music from England over American music?
Cretu: I love English music a thousand times better. All my favorites are from England.

Question: Why are there less lyrics this time? The album comes across much more instrumental.
Cretu: I've no idea why... Enigma 1 was done like a child's dream, I was in my early thirties then. The fourth album is the work of a more mature, grown-up person. Obviously, the album itself is much more grown-up. But it's also closely related to Enigma 1. Maybe I was too explicit with the lyrics on the previous two albums. This time, I'll leave it at lyrical hints. The listener has to come up with the rest ...

Question: What are the ingredients that turn a regular pop song into an Enigma track?
Cretu: Pure feeling. I can't put it in words. It's a certain mood, small details and I say: "Yes, that's it." If it comes spontaneously I don't have to doubt and question afterwards why I did it this way and not the other. I always try not to waste my energy with dissecting the past!

Question: Speaking of the past, considering that music has been recordable for only 120 years it means that earlier music only existed when it was performed live...
Cretu: ... or you had to have it in your head.

Question: As a child you were in a program for "Highly Gifted Musical Talents". At the age of 22 you graduated from the Frankfurt Music Graduate School with distinction. You favorite composer ...
Cretu: ... already at the age of 12 it was Anton Bruckner and not, as some might think, Carl Orff. I can perceive music differently due to my schooling. When I read Carl Orff's music of the "Carmina Burana" I hear it all in my head. For me, abstract symbols we call notes turn into music instantly.

Question: Why is Enigma music considered pop music and not "serious" music?
Cretu: Ask the ones setting up these "rules".

Question: You used a classical composer this time. How come you took Carl Orff's "O Fortuna" from the "Carmina Burana" and used it for Enigma 4?
Cretu: It's the absolute highlight in all of Orff's music. These 90 seconds are unique, fantastic. Probably this part is one the strongest moments ever written in classical music.

Question: Why is this part so unique?
Cretu: It entices basic, original instincts...

Question: Why do you like it?
Cretu: Why do I like it? It's the emotion it arouses. A signal going through walls. It creates awe and yet it is very positive and accepting of life. It is martial and yet happy.

Question: If one didn't know Orff one wouldn't really notice that these "90 seconds" are not originally Enigma, i.e. you ...
Cretu: I don't want to sound bragging but I don't think that there are many people around who can merge Pop and classical music as well.

Question: Is the song title "Silence Must Be Heard" an appeal to yourself?
Cretu: No. It's not about being quiet but about the power of silence. That's why I say I'm not a man of great words but music has been, is and will always be the best means to express my feelings and thoughts.

Question: That almost sounds Confucian.
Cretu: Well, Confucius is indeed one of the most important philosophers for me. He is able to express in one sentence what others can't begin to express on a thousand pages.

Question: For example?
Cretu: "A road is only a road as soon as you start traveling it." You can't put it much simpler. And I make my music according to this maxim. I want everything to come across as simple as possible, no matter how complicated my motifs may be. I'm incredibly happy when I write something new that sounds good. Really, you can see me dance around the mixing desk like a little kid.

Question: What is it that drives you after 20, 25 years of writing music to go on with it so energetically?
Cretu: Music is my passion! What should I do all day? Realistically, there might come a day when I'm too old for this but, surprisingly enough, it looks like this day is far away still. Already at 30 I thought I couldn't come up with anything new anymore. But that was two years before Enigma ...

Question: Could you narrow down the message of Enigma?
Cretu: I hope you understand that I don't always want to explain everything. It's high time that people begin to learn to read between the lines again. There are no obvious messages on "Screen Behind The Mirror" but many ciphers, hidden hints. And this little enigma everyone should go ahead and solve for themselves! Since the project is not called Instruction Manual but still Enigma ...

This interview appeared first on the Microsoft Network Page in France.
This English transcript was provided by Virgin Records.