- Who are you?
- What do you do?
- Where do you often create/produce?
Currently I record in my home studio in Austin, Texas.
I compulsively record in 3-4 hour sessions several times a week.
- Why do you play music?
Although my work is in no way autobiographical in a traditional sense, it gives me a feeling of documenting my life.
- When did you start making music?
I started playing percussion instruments when I was around 10 years old (I’m 31 now).
- How would you describe your own music?
Hypnotic, cybernetic, lugubrious.
- Any track of the moment?
- What influences your work?
Ancient mysteries, secret knowledge, altered states of consciousness, paranoia, remote viewing, early experimental music.
- Favorite book?
- Favorite classic movie?
- Favorite music label?
- Your dream collaboration?
- Are you analog or digital?
Right now my setup is a hybrid of the two, but I’ve never concerned myself with this too much. I’ve done many recordings purely “in the box,” as well as plugging a wooden box into a tape recorder. I just use what is around me.
- Which soft wares/tools/ instruments do you use/play?
Very old rhythm box style drum machines, late 80’s digital drum machine, modern hardware sampler/sequencer, analog polysynth, smartphone field recordings, vintage multi-effects unit, tape deck, Ableton Live, rotary midi controller.
- Describe your creative process?
I almost always begin by building a rhythm, from there it’s very free-form and intuitive. Once I get to a point that feels right, I press record and perform live. Sometimes I may bring those recordings back into Ableton Live for additional processing and effects.
- When are you the most prolific (creatively)?
- Any favorite record stores? (Real/virtual)
- Any future plans?
Continue recording & releasing and hopefully tour in 2018.
- Any “mot de la fin”?
“Maybe this world is another planet’s hell.” –Aldous Huxley
Judging from this excellent mix you did recently for NTS and Eris, your new LP on LIES, the range of influences upon your music appears to be vast. You mentioned Sakamoto and Watermann as influences- did they inspire you for the formation of this LP?
Those artists are definitely influences. I’ve been an obsessive music collector for several years. I would say my biggest influences come from the initial bootleg music blog movement from the mid-to-late 2000s, particularly the ones that unearthed dark experimental and industrial music coming from the vast 1980’s underground. Back then I would typically download 10-15 albums a day! If I had to break it down to a few absolute favorite artists I would say – Wire/Dome, Esplendor Geometrico, Cabaret Voltaire, Muslimgauze, and Zoviet France.
What does Eris refer to?
Eris is a mischievous/chaotic deity within the Discordian “religion.” Eris in the context of the LP was to be a code name for an imaginary (?) American intelligence black budget psychological experiment – performed on an unknowing public.
Could you tell us more about its compositional approach?
I usually start by building a custom drum kit with synths, samples, and sometimes field recordings done on my phone. I then experiment with different patterns and time-based effects – I love the syncopation and unexpected results of processing rhythms through several layers of (digital & analog) delay. From there I may go on to add droning elements and my own voice over the rigid rhythmic base. Trial & error and chance are always a big part of the process. Creating a hypnotic headspace with sound is very interesting to me- maybe a way of escaping reality.
Few weeks ago, we premiered ‘concrete message’ - we found it simply brilliant- it kind of reminded us of many great experimental sound artists we liked such as Otto Luening, Else Marie Pade, Halim El Dabh.. and made us think about how your LP is actually a ‘concrete message’ - sonic fragments not tight to one specific genre collaged in a nonlinear way to deliver a message. Are the tracks independents or linked to each other? If so, what’s the narrative?
That track in particular was not a typical one for me. I recorded it while living in Baltimore, Maryland after taking a walk around the harbor and downtown area. On the walk I saw an original Toynbee Tile for the first time in person. Toynbee Tiles are a perplexing series of small messages of unknown origin burned into asphalt on city streets all over the world (literally “Concrete Messages”). I became intrigued by them after watching the 2011 documentary “Resurrect Dead: The Mystery of the Toynbee Tiles” (which is available to stream in full on Vimeo). After the walk, I fired up my system with the intention of making an audio interpretation of one of those tiles- “Concrete Message” was the result. Else Marie Pade is the only artist that I’m familiar with on that list, and I absolutely love her work. As far as a narrative for the LP, I might compare it to a surrealist exquisite corpse – individual parts that make up a bigger picture- where the end product is very much up for interpretation.