“I’m responding to the recordings that I took and layering things on top, but I always started with the field recording. The recording is a collaborator. The world is a collaborator. I find it really difficult to sit down and make something out of the blue. I’m not someone who hears melodies in their head, Continue reading

“I’ll drag a file into Ableton to see it visually. I’m just looking for activity within the waveforms. Like, something happened here, because the signalling changed. There’s obviously a reason for that. I’m interested in that reason. Something is happening and I need to get it out. I guess that’s important to me.” Claire Rousay Continue reading

“I found with a couple of the right pedals I could go anywhere and sound like me, which has more to do with limited playing skills and the chords that I make than anything else. It evolved from my frustration with being a really fucking mediocre guitar player when I was learning to play. A Continue reading

“Most of the time, the bedrock of a track is created through chord structures, so I’m starting from a harmonic point rather than a sequence or arpeggio. Once I have that harmonic foundation, I’ll use some sort of aleatoric randomisation or program a sequence or arpeggio into the sequencer.” Steve Hauschildt Continue reading

“…this one synth that I spent so much time on that I loved, an Udo Super 6. I would record the signal on Logic, but I wouldn’t even think of the computer. I wasn’t even facing it. It felt very nice to just jam and play around with it. I would spend hours on that Continue reading

“…take as the basis of the tracks this idea of a loop that I could be listening to forever. Just because I think it sounds close to perfection. Shorter patterns and this idea of a cycle repeating itself forever and ever, and how I can build a pop song on top of that.” Oklou database Continue reading

“I will always remember that circular movement of my photography director’s hand, and now I know that what we miss in every digital device, and more in general in the digital world, is that breathing, that waviness, that irregularity. Like a vibration. Was that vibration what we used to call a soul? It’s hard to Continue reading

“It’s listening. It’s a bit being able to zoom in and zoom out in perspective. That’s a good practice. I think if I were still alive ten years from now, or if I can still hear then, that if I listened back to a mix I’m doing now, I’d probably think the same negative things Continue reading

“That’s how I think of mutating my guitar lines and sending it through these layers of recombination. It’s like putting it through a prism; exploring a single idea through all these multiplying perspectives [and] seeing one thing in hundreds of its different facets and selves.” Rachika Nayar Continue reading