“My sonic preferences in making music lie in capturing what doesn’t yet exist, music that departs from its style-defining characteristics. I think it’s important to question dogmas of music making practices, so that music as a whole can keep developing into new shapes of artistic expression.
Ultimately I think all my music is a form of emotional expression. Concepts, both within and outside of music, often carry a function of creating an artistic framework, a theme, musical variations, generating inspiration for finding new ways of making and sharing music.
In general I use my own recordings as samples and source materials. Whether I sample a heating, heavy rain, a broken speaker or an acoustic guitar with voices, I enjoy capturing them with my field recorder Zoom H2n. This results in ‘flawed’ recordings, filled with background noise, surroundings and spatial information. For me, the richer the source is spectrally the more interesting it is to work with. Especially when zooming in on minuscule details while processing a sample, it often generates unexpected digital artefacts. This kind of material inspires me to keep going.
I think ears give us a primal connection to the world around us, both natural and cultural. A lurking predator, a cry for help, a soothing breeze, children laughing…
Hearing enables us to distinguish imminent danger from safety. Additionally ears are a primary tool for receiving verbal communication with other people. Conveying ideas, concepts, feelings, desires … before most people were able to read and write, hearing already played a significant role in understanding the intentions of friends and enemies. Because it’s such an old and experienced sense, I believe hearing is far more intuitive and intimate than sight. I think smell and touch are even more intimate than hearing, because they require the source to be physically closer.”