“I never used the studio for its technological side since I only utilise a fraction of its capabilities to produce my music. That’s a philosophical point with me. An awful lot of music justifies itself on how sophisticated the technology is, but me, I don’t give a damn about the sophistication of the technology. I Continue reading

“What I tend to do is work with a very basic idea. Everything is drafts. It’s drafts all the way down. You do something and you think, Is this good? Yes or no? If no, what do I change to make it good? You keep doing that and at some point you think, Yes, okay Continue reading

“[Paul Stretch software] extends sounds. So, if you put a 30-second recording of a harp in there, it will extend it for an hour. It won’t mess with any of the transients within it, so it doesn’t sound terrible, it sounds like a really beautiful, long piece of drone. Sometimes I’ll put something into that, Continue reading

“With my Zoom recorder I recorded some field recordings and percussive sounds, connecting the music to the visual ideas. I wanted to look for contrasts sound wise, make it sound organic yet digital. Using soft melodies but more bright and icy percussion for example. The act of ‘zooming in’ was a way of working throughout Continue reading

“Experimentation, exploring, sound, and listening. To listen to backgrounds. You should always be listening to what is in the background, of whatever it is…I’m trying to round up the capacity of what the ear can perceive.” Moritz Von Oswald database Continue reading

“Most of the ‘strange noises’ are just guitars, strings and horns recorded in different ways. I have a tendency to record a bunch and then just sample parts of what I’ve done. It’s all about laying instruments and making new instruments out of the combination of different instruments’ decay and timbre. But the important part Continue reading

“The goal with those kind of new resonators or amplifiers is to keep the real acoustic behavior of an instrument. Because it resonates through wood or metal, and then you can capture it with different kind of mics, you have a very huge stereo image. It’s like being in front of someone playing the guitar, Continue reading

“[Mixing] is a constant prioritization about what should be in the background, what should be in the foreground, how do you carve a satisfying set of journeys where everything goes on a little path and paths connect. I think it’s just a matter of listening very carefully to what’s there and not being afraid to Continue reading

“There is an expression I love from Jean-Paul Sartre: ‘Nature talks, experience translates it.’ All the aesthetics of my plates, I picked up from nature. There is an aestheticization of cooking for me that came from my relationship with nature. And there is another expression I adore from [artist Pierre] Soulages which says: ‘Plus les Continue reading

“Making field recordings is just trying to capture a certain mood. A lot of the sound that you hear–drums, percussion–I would like to capture certain vibe from nature by just going out with a drumstick and trying to find a kick drum in the stones, or trying to find the kick drum in the sand Continue reading