“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

“We’ve been having that happen a little bit with orchestral stuff, too, a couple scores we recently did. The intention was just dropping some Spitfire strings to mock-up something and then when it’s time to do it for real, after you’ve spent a fuck-load of money and add 1,000 people in and an orchestrator and… Continue reading

“I was never interested in repeating, extending or improving one certain production methods. Even though I value artists who follow this strategy, it never became a perspective for myself. The concept of a rapid, erratic and jumpy biography attracts me much more. You should risk breaks in style–especially as an already established artist.” “Mostly it’s… Continue reading

“Sometimes I don’t like thinking, this part has to be exactly four bars, and so forth. Sometimes I’ll hit the record button and just go, ignoring the metronome and just doing whatever. I’ll improvise for five minutes and condense that into a song.” Loraine James database. Continue reading

“I kind of see [arrangement] as a bit of a story with repeating phrases. And every time you tell the phrase again you’re telling it in a slightly different way so it feels like you’re getting to know the story deeper and deeper and deeper. I like to do that by repeating sections but when… Continue reading