Jeanscape Interview
Q: How did you get interested in working with sound design/soundscapes?
A: My interest really stems from the way sound is used in visual media. I first became aware of the impact of sound design while playing video games as a child, particularly Akira Yamaoka's work in the "Silent Hill" series. The early games had a particular focus on subconscious fear and dread, and would not have been so effective without Yamaoka's use of texture, melody and silence as well. I found that what really intrigued me was how evocative music could be when it was no longer there for the exclusive purpose of entertainment, but to arose psychological and sometimes physical responses - music that leads you deeper into yourself. Over the years, I've become very fond of the works of Lustmord, who has taken field recording in crypts, slaughterhouses and all manner of grisly places, and Robert Rich for his use of natural soundscapes and micro-tonalism. The art of sound design is more related to high concept, and is not particularly bound to typical musical traditions, and I love the freedom in that. The freedom to paint whatever picture I see in my mind.
Q: Can you talk a little bit about your creative process? Do you know the sounds you want to create or do you discover them?
A: More often than not, I am chasing a sound that I want to hear and that pursuit will sometimes take me to places I hadn't thought of going to - that's the beauty of composing, I suppose. But before I sit down to write, I have a form in mind, a narrative, a place. Then it becomes a process of capturing and arranging sounds until I feel that the initial idea is returning to me through the speakers. There will always be the "happy accidents" as well, and they often become the avenues I find most compelling.
Q: Your album The Strand is a concept album. Can you expand on the ideas you want to present?
A: Absolutely! The idea was to try and represent certain visual scenarios in audio form, so I chose to employ personal dreams from a journal to guide the structure of the pieces, treating the album like a montage - as if one were drifting from one dreamscape to another over the course of the night. The opening and closing tracks are more a journey back and forth through the hypnagogic phase of sleep, through some kind of semi-consciousness. I wanted the album to feel simultaneously hypnotic and restless.
Q: How did you get interested in working with sound design/soundscapes?
A: My interest really stems from the way sound is used in visual media. I first became aware of the impact of sound design while playing video games as a child, particularly Akira Yamaoka's work in the "Silent Hill" series. The early games had a particular focus on subconscious fear and dread, and would not have been so effective without Yamaoka's use of texture, melody and silence as well. I found that what really intrigued me was how evocative music could be when it was no longer there for the exclusive purpose of entertainment, but to arose psychological and sometimes physical responses - music that leads you deeper into yourself. Over the years, I've become very fond of the works of Lustmord, who has taken field recording in crypts, slaughterhouses and all manner of grisly places, and Robert Rich for his use of natural soundscapes and micro-tonalism. The art of sound design is more related to high concept, and is not particularly bound to typical musical traditions, and I love the freedom in that. The freedom to paint whatever picture I see in my mind.
Q: Can you talk a little bit about your creative process? Do you know the sounds you want to create or do you discover them?
A: More often than not, I am chasing a sound that I want to hear and that pursuit will sometimes take me to places I hadn't thought of going to - that's the beauty of composing, I suppose. But before I sit down to write, I have a form in mind, a narrative, a place. Then it becomes a process of capturing and arranging sounds until I feel that the initial idea is returning to me through the speakers. There will always be the "happy accidents" as well, and they often become the avenues I find most compelling.
Q: Your album The Strand is a concept album. Can you expand on the ideas you want to present?
A: Absolutely! The idea was to try and represent certain visual scenarios in audio form, so I chose to employ personal dreams from a journal to guide the structure of the pieces, treating the album like a montage - as if one were drifting from one dreamscape to another over the course of the night. The opening and closing tracks are more a journey back and forth through the hypnagogic phase of sleep, through some kind of semi-consciousness. I wanted the album to feel simultaneously hypnotic and restless.
Q: I'm sure post-production is an integral part of sound design. You capture sounds and then can manipulate them with an almost boundless array of effects. What type of plug-ins are you using and how important is post-production to your sound?
A: Indeed, the possibilities are endless nowadays where sonic processing is concerned, and I find that a bit daunting. I find having too many options can be crippling for me, so I really only use a small selection of plug-ins - mostly stock EQs, pitch shifters and reverbs. Many of the textures are created using analog boxes and digital guitar processors, and in the case of a track like "Monotony", there is no post-production involved whatsoever. Simplicity suits my flow of inspiration.
Q: How would you present this material for a live audience? I was thinking your music might be presented alongside visual design or maybe even dance.
A: I haven't thought about it very much to tell you the truth. But surely, I'd like to incorporate other sensory elements. The way Tim Hecker uses lighting and fog to create a disorienting experience is really inspiring. I also really enjoy Lustmord's digital visual projections. But similarly, I find the idea of "sleep concerts" really intriguing, almost like a state of group meditation. It's something to ponder should the opportunity arise in the future.
Q: Can you tell us about some of your plans for 2017?
A: I've just finished mixing what will become the second Jeanscape release - a darker, more adventurous album, with a more specific focus and narrative. In the meantime, I'm looking for a suitable platform on which to release it, so I can't say exactly when it will be out. But it's in the can! Another ambition of mine this year will be to work with visual media, scoring for film. It's always been a dream! I also write more traditional pop/rock music under my own name, and have just released an EP entitled "Meditations" - think Jeff Buckley, Sting and Porcupine Tree. I'll be releasing a follow up later in the year, and I hope to be playing that music live before too long.
A: Indeed, the possibilities are endless nowadays where sonic processing is concerned, and I find that a bit daunting. I find having too many options can be crippling for me, so I really only use a small selection of plug-ins - mostly stock EQs, pitch shifters and reverbs. Many of the textures are created using analog boxes and digital guitar processors, and in the case of a track like "Monotony", there is no post-production involved whatsoever. Simplicity suits my flow of inspiration.
Q: How would you present this material for a live audience? I was thinking your music might be presented alongside visual design or maybe even dance.
A: I haven't thought about it very much to tell you the truth. But surely, I'd like to incorporate other sensory elements. The way Tim Hecker uses lighting and fog to create a disorienting experience is really inspiring. I also really enjoy Lustmord's digital visual projections. But similarly, I find the idea of "sleep concerts" really intriguing, almost like a state of group meditation. It's something to ponder should the opportunity arise in the future.
Q: Can you tell us about some of your plans for 2017?
A: I've just finished mixing what will become the second Jeanscape release - a darker, more adventurous album, with a more specific focus and narrative. In the meantime, I'm looking for a suitable platform on which to release it, so I can't say exactly when it will be out. But it's in the can! Another ambition of mine this year will be to work with visual media, scoring for film. It's always been a dream! I also write more traditional pop/rock music under my own name, and have just released an EP entitled "Meditations" - think Jeff Buckley, Sting and Porcupine Tree. I'll be releasing a follow up later in the year, and I hope to be playing that music live before too long.