Mixolydian Interview
Q: Your recent album Entropy probably won’t be hitting the FM airwaves anytime soon. Entropy is an album more aligned with artists like Tim Hecker and The Haxan Cloak. What were your influences musical or otherwise for this album?
A: A major driving force for this album was to further understand the textures and balance of certain sounds, especially organic or otherwise voice generated. Since my music is still in its infancy that gives me a lot of freedom to really explore and excavate through the many labyrinthine and intra-atomic musical components of most sounds and further observe their invisible worlds and discern upon the indiscernible. Music is a prominent outlet and almost an excuse to delve into mental landscapes and forge new shapes upon conception from the external and internal universes and the lack of knowledge on any type of music, whether that would be listening to or constructing, is a massive influence on me to begin with.
Q: Can you talk about the production and songwriting process for the songs on Entropy?
A: Upon inception, the underlying concepts were to focus on learning how to create a track from start to finish without turning a corner into eccentricity or overall unwanted structures and remain consistent with just that. The first track “The Shape” is the only song that features words with added effects and obstruction of the voice to parallel the song's dark and ambient atmosphere, but that was a preliminary trial to future works that will include this element - which is why it was a two-minute song. I also wanted to try my hand at producing tracks that sound professional and not as amateurish as some of my other songs.
Q: Have you attempted to play these songs live? What would a live show look like with these songs?
A: I have not attempted to play live but I would like to in the future. Though it is difficult to say what it would look like but I would try to set specific moods based on the tracks’ auras using lights. However, inspired by Die Form's presence on stage, when I am ready to start consistently playing live, I would want to lean more in the direction of performances and showcasing some of my photography and videos.
Q: Word on the street is you are starting a label. Where are you at in that process?
A: Well, the word on that street is factual! The label is called Bain Product and I wanted to represent bands/artists of the obscure. I really admire Anne Gillis, Bernard Parmegiani, SPK, Die Form etc. mainly due to their practice at certain synergistic oscillations and organic/analog vibrations. However, because I'm still trying to do my experimentations with music - Mixolydian and other side projects - it's a little tedious in finding these types of artists. So, in the meantime, since I've produced seventeen digital albums - combining stuff from side projects and Mixolydian - I'm thinking of putting my works onto the Bain Product Bandcamp page and marketing the hell out of them to generate more traffic...hopefully.
Q: You have a new album coming out called (De)Construction. How will this differ from Entropy?
A: Entropy revealed the electronic breath of superimposed compositions with anything organic, but (De)Construction is an experience of the industrial mind intertwined with that of nightmarish abstractions. Born from the violent metallic body of industrial anatomy and into a world where the voice and machines run through samplers and granulations to produce textures of instrumental impossibility I wanted to, instead of experimenting with samples of sound, to record the framework of natural sounds and experiment with it in its entirety to develop sounds mixed with the grain and a dichotomy of added effects.
Q: Can you tell us about your side projects?
A: The side projects I've found are a beautiful way to explore areas of sound without the feeling of wasting time. The idea for Synthetic Hertz was any piece of music or sound that I didn't feel was up to par with the direction I wanted for Mixolydian so it was a sort of recycle bin. However, since I wanted a more industrial approach, other projects (like Red Light Laboratory, Synthetic Hertz, Experimentalis Animali - which is more of a harsh noise project) were spawned in order to make it easier in creating (De)Construction.
Q: You obviously have some plans for the future with the label and new album. Is there anything else on the horizon we should know about?
A: More side projects like Mr. Krylon and Ms. Frieda Craft, both characters I'm building for a novelette that will be released online soon, will be molded and shaped in the form of music first for Bain Product. I'm also compiling, and editing at the moment, a collection of short stories that may be released in mid-December on Amazon, more information on that will be on my Twitter page (@Mixolydian101)
Q: Your recent album Entropy probably won’t be hitting the FM airwaves anytime soon. Entropy is an album more aligned with artists like Tim Hecker and The Haxan Cloak. What were your influences musical or otherwise for this album?
A: A major driving force for this album was to further understand the textures and balance of certain sounds, especially organic or otherwise voice generated. Since my music is still in its infancy that gives me a lot of freedom to really explore and excavate through the many labyrinthine and intra-atomic musical components of most sounds and further observe their invisible worlds and discern upon the indiscernible. Music is a prominent outlet and almost an excuse to delve into mental landscapes and forge new shapes upon conception from the external and internal universes and the lack of knowledge on any type of music, whether that would be listening to or constructing, is a massive influence on me to begin with.
Q: Can you talk about the production and songwriting process for the songs on Entropy?
A: Upon inception, the underlying concepts were to focus on learning how to create a track from start to finish without turning a corner into eccentricity or overall unwanted structures and remain consistent with just that. The first track “The Shape” is the only song that features words with added effects and obstruction of the voice to parallel the song's dark and ambient atmosphere, but that was a preliminary trial to future works that will include this element - which is why it was a two-minute song. I also wanted to try my hand at producing tracks that sound professional and not as amateurish as some of my other songs.
Q: Have you attempted to play these songs live? What would a live show look like with these songs?
A: I have not attempted to play live but I would like to in the future. Though it is difficult to say what it would look like but I would try to set specific moods based on the tracks’ auras using lights. However, inspired by Die Form's presence on stage, when I am ready to start consistently playing live, I would want to lean more in the direction of performances and showcasing some of my photography and videos.
Q: Word on the street is you are starting a label. Where are you at in that process?
A: Well, the word on that street is factual! The label is called Bain Product and I wanted to represent bands/artists of the obscure. I really admire Anne Gillis, Bernard Parmegiani, SPK, Die Form etc. mainly due to their practice at certain synergistic oscillations and organic/analog vibrations. However, because I'm still trying to do my experimentations with music - Mixolydian and other side projects - it's a little tedious in finding these types of artists. So, in the meantime, since I've produced seventeen digital albums - combining stuff from side projects and Mixolydian - I'm thinking of putting my works onto the Bain Product Bandcamp page and marketing the hell out of them to generate more traffic...hopefully.
Q: You have a new album coming out called (De)Construction. How will this differ from Entropy?
A: Entropy revealed the electronic breath of superimposed compositions with anything organic, but (De)Construction is an experience of the industrial mind intertwined with that of nightmarish abstractions. Born from the violent metallic body of industrial anatomy and into a world where the voice and machines run through samplers and granulations to produce textures of instrumental impossibility I wanted to, instead of experimenting with samples of sound, to record the framework of natural sounds and experiment with it in its entirety to develop sounds mixed with the grain and a dichotomy of added effects.
Q: Can you tell us about your side projects?
A: The side projects I've found are a beautiful way to explore areas of sound without the feeling of wasting time. The idea for Synthetic Hertz was any piece of music or sound that I didn't feel was up to par with the direction I wanted for Mixolydian so it was a sort of recycle bin. However, since I wanted a more industrial approach, other projects (like Red Light Laboratory, Synthetic Hertz, Experimentalis Animali - which is more of a harsh noise project) were spawned in order to make it easier in creating (De)Construction.
Q: You obviously have some plans for the future with the label and new album. Is there anything else on the horizon we should know about?
A: More side projects like Mr. Krylon and Ms. Frieda Craft, both characters I'm building for a novelette that will be released online soon, will be molded and shaped in the form of music first for Bain Product. I'm also compiling, and editing at the moment, a collection of short stories that may be released in mid-December on Amazon, more information on that will be on my Twitter page (@Mixolydian101)