“I use Ableton Push to arrange, structure and build upon the field recordings, layering them with new sounds to create different environments and soundscapes. Then I’ll use Ableton Live to sort out the recordings I did that day and make decisions on whether I need to edit, mix or cut sounds to create new recording Continue reading

“The actual aesthetic of insane digital sound processing is not really where I’m coming from, I’m much more interested in textures and how sounds which probably shouldn’t work together are able to bend and cooperate. How sounds, once you’ve built some rudimentary programming blocks, just get let go and form the genesis of how ideas Continue reading

“You have to understand that the breaking point of some of the equipment, and the breaking point of some of the ideas, they are very close to each other.” John Cale database. Continue reading

“I try to make everything myself. Even when I just sample, I really try to program with the sample so that I’m not just reveling in the sound of the sample so that it doesn’t sound at all the way that it did before rhythmically. I try to somehow breathe new life into it from Continue reading

“The idea is to create a rhythmical structure with chords, bass, little sound snippets and delays that combine to create melodies by themselves. For example, if you repeat a single note in a delay and put it into a room, it starts resonating and builds a melody on top of the basic chord. You never Continue reading

“The speed of access is now a problem over everything. You know, quick decisions, throw away, modify, constant automation on your DAW. That stuff is all well and good, but the reason people are going back to previous stuff is that everyone is looking for forms of restriction, I think. (…) You throw something in Continue reading

“I work a lot on the fragment. Even when I am in the studio, I think it is the unit of language which then develops the rest. Even in the approach to Monteverdi, I worked on the fragment, I would say even on the fragmented nature of the creative process: I worked on sound tissue Continue reading

“I put a bunch of elements together, and if I hear something emerging out of those combinations of elements, that’s where I try and investigate further. Instead of getting an idea and thinking, ‘I want to make something that sounds like this’ and then figuring out how to make it, I’m putting a bunch of Continue reading

“I’m very fond of getting stuff down really quickly and rendering to groups and just condensing mass of recordings and then letting stuff fall away that isn’t hitting me.” “I find that abstract realm of experimentation—it’s such a great place to start to just experience ultimate freedom. You’re not thinking about making a hit; you’re Continue reading

“This tends to be something I start with a lot: I make drones in the key of the song that I’m working in. The way I normally do them is that I record a long pass of me playing an instrument. There’s one I made from a bleepy square wave patch in Serum which is Continue reading