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.'
All of those 10cc 'Not in Love'-type synthetic choir sounds on 'Replica' are all from the Omnisphere. We used a lot of that.
I'm super into dudes like Megazord, Jon Rafman, Rasmus Emanuel Svensson, Tabor Robak, and Michael Willis to name a few.
I've always been obsessed with the grain of the human voice. It's the ultimate instrument, there's this whole level of virtuosity and poetry, a sort of athleticism, of controlling your voice.
I'm not a scientist.
OPN is completely off the grid. Its like the slime underneath techno and other synth-oriented music.
Kitsch is very important to me.
That idea of being so sure of what has happened, and what will happen, is the most idiotic human thing that anyone can do.
Film work can be anything from just really hard and stressful and you're subjected to really weird deadlines to really draconian and weird and disconnected. You're working in service of the thing, and that can be really amazing for everyone involved, or be kind of just a waste of time.
The dumber the thing is, the more excitement I get from imagining a very complex world of truth around it.
I love Ableton's vocoder and Operator for basic side subs and general low-end.
There's an arrogance of assuming that we can interpret the past - that we've left the right footnotes, that we're doing the right reclamation projects, that we're not overcorrecting. Actually, we have no idea where we're going. It's this Tower of Babel type scenario.
I'm so into this idea that the Internet was this reservoir of mythologies and histories, and the architecture of it being linked pages that create hard connections and bridges between ideas that shouldn't be linked.
When I make music I try to be as honest as I can to how I experience the world. Like how you arrange a piece of music formally. I tend to observe a lot of chaos or whatever, the fragmentation and melancholy. That's the filter I synthesize my world view with. If I didn't formally have that chaos and it was really linear, it would make my skin crawl.
I saw Double Leopards play at my school and realized there were other ways to approach noisy music that weren't necessarily aggressive. That became a very important concept for me as a musician. I don't think I would have been that interested in creating and performing my own music if it wasn't for this group.
It's sad to me that the main stage of history is a story of how we became this visually obsessed, extremely narcissistic, extremely concerned about image, culture. At least in the West.
I wasn't always totally interested solely in music as a sort of visceral expression of people in unison and synchronized, a federated expression of a group of people. I loved it as a wallflower, as a fan, but when I was in it, I always felt like I wasn't built for it.
I was born in '82 and there were these bizarre wars, explained through mass media in ways that made no sense. I remember watching the Gulf War through night vision. That was sold and propagated as a showbusiness moment for the news.
For so many people, it's very hard to feel okay with success, because success is not cool. It supposedly tarnishes your thing; it ruins little pockets of scenes and the self-importance that comes from thinking you're the only people in your town that are doing something.
I need weird breakages to happen for music to feel true to life, and I think that also applies to good film scores.
