To me it's all about textures, and that's the side of music that I'm finding really exciting. I feel like it's one of the only parts of music that mankind hasn't fully discovered yet.
I think space and music go hand in hand in the sense that they give a little more mystery and magic to life.
I'd say that it's important for music to be there that gives you a challenge, that rearranges things in your head.
I don't like to talk too much about my music; I like people to just experience it and not worry what I have to say.
I travel the garden of music, thru inspiration. It's a large, very large garden, seen?
It's very fun to be the hunter of the sounds. The hunter of the right energy. And it's not really about if every sound is correct; it's more the energy - if it hits you in some way, it doesn't really matter to me if it's not perfect. I'm still very excited while hunting for songs.
'Sugarcoat the Galaxy' is inspired by color-inflected photographs of galaxies. It likens sounds to spun sugar and confection, wrapping static harmonies inside energy and pace.
There's an effort to reclaim the unmentionable, the unsayable, the unspeakable, all those things come into being a composer, into writing music, into searching for notes and pieces of musical information that don't exist.
Play a jungle record from 1993 to someone in 1989 and it would have sounded like something so new that it would have challenged them to rethink what music was, or could be.
I wanted to make sounds that I'd never heard before.
I like trying to make sounds that are interesting and are a bit weird. I try to make music that captures people's imaginations.
I made a lot of different experiments with tapes at that time, until I finally realized around 1995, that sound is an interesting subject for me. Ever since then sound got more and more integrated into my art works, musically as well as physically.
Anything that catches my ear, I'm into. Things that are different, that change what you're listening to.
Conceptually, I am open to mistakes - errors, actually. I do play lots of wrong notes while I am making some music, and a mistake or a wrong note is like a gift for me: 'Oh, wow, an unknown sound or an unknown harmony. I didn't know about this.'
When I tried to play something and screwed up, I'd hear some other note that would come into play. Then I started trying different things to find the beauty in it.
I like to come up with lots of different sounds. So the final version of a song might have been 10 completely different songs before we finally got it right.
You hear the same work by different orchestras, different conductors, violinists, pianists, singers, and slowly, the work reveals itself and begins to live deeper in you.
The subject is missing from 'Replica' - it's about malleability of materials, and working with metaphor, and sculpting in time. So that makes a collaboration with another person who pushes sound in a sculptural way appealing, because you're like, 'Let's see what dimensionality is introduced from this other perspective that I might not have.'
I honestly like any sound. Birds. I have a very broad space to accept or enjoy anything except quiet.
Throughout the evening I would be recording these long saxophone delays and about four hours into the concert, if I wanted to take a break I would just play back the saxophone.
The process of selecting the tone on the guitar is an aesthetic process like any other, so you try a lot of different things.
Music is all of a sudden much more colorful.
I grew up listening to 'Planet of the Apes' and other scores, and it was fun for me because you weren't just listening to those scores, but you were also questioning what you were listening to. What are those sounds?
In scoring, I usually start with a sound or group of sounds, searching out what feels right.
I like to explore sounds.
