Rhian Sheehan Interview
Q: As I listened to Stories From Elsewhere I often felt a wide variety of emotions from nostalgia, to hope, to unbridled exuberance. Can you talk a little about how the creative process began for you in the conception of this album? Does it begin with a feeling or does that come later?
A: It really begins with experimentation, playing around with different found sounds etc, finding a texture that works, and building upon it. I like to layer and layer different sounds and then strip them back once they’re too dense sounding, hence stumbling into dreamy soundscapes almost by accident. I enjoy writing music that has a reflective quality to it simply because that’s also the kind of music I enjoy listening to. I’m a fan of music that is sonically detailed and texturally rich, music that evolves. I don’t think melody is particularly important. Texturally ambient music has the power to allow you to dream up your own melodies whilst listening, one becomes part of the musical experience.
Q: Can you tell us about how you composed your music for Stories From Elsewhere? (Do you hear the music in your head? Do you need to write out?
A: Some melodies I definitely heard in my head and jotted down on paper, like ‘Nusquam’ for example. I wrote the core idea in something like 5 minutes on a piano, then obviously refined the arrangement later for a string section. Other tracks like ‘La Boîte à Musique’ for example took a long time to refine, simply because of the sonically manipulated and experimental manipulated nature of the piece. If there was any intention at all, it was to draw the listener into the intimate mirco-world, and then send them off into the cosmos using big guitar washes, strings etc. Having a music idea is one thing, but getting it somewhere close to what you’re hearing in your head is another. When I was writing the album I wasn’t thinking very consciously about my process, I find the best music comes out when I don’t think about it too much. I try not to break the spell. In retrospect, the album is a collection of experimental Chamber Music I guess. Only after its completion did I realise this.
Q: Is there a story behind the cover art?
A: I’d been a fan of Kieran Rynhart’s work for a while. We live in the same town. Early on when I had some rough mixes I asked him if he’d be interested in collaborating on the artwork with me. He’s a super intuitive guy, and after a few conversations he had pretty much immediately sketched out what I was seeing in my head. It was an amazing experience watching an idea come to fruition through someone as talented as him.
Q: What type of gear do you use to compose? Do you have any particular instruments that are your go to when it comes to ideas?
A: I use a few old tape recorders, many children’s musical toys, like musicboxes etc, old toy keyboards, piano, lots of guitar effects pedals, toy glockenspiels, my own voice through lots of effects to get an old choir kind of sound (like on ‘A Thimble Full Of Sorrow’). I also use an old8bit sampler, which I record sine waves through (‘Nocturne 1985’ was made with this). I’m a fan of lots of reverb - my Eventide H3000 is a favourite. I use Ableton Live to record and mix on, butI also mixed the core of the album with Lee Prebble here in Wellington, which was great fun.
Q: What's it like working with an entire orchestra?
A: I only actually worked with 9 string players. We just did a lot of layering to get a bigger sound.
Q: What types of artists are you listening to these days?
A: Currently I’m hooked on Fandango by the The Phoenix Foundation (another New Zealand band). American bands Helios and Hammock are big favorites in our household, and obvious influences on my new album. I’ve also recently been enjoying Alex Somers now defunct band Parachutes. I listen to lots of Eno’s ambient work, as well as Max Richter, Ólafur Arnalds. Some great New Zealand acts I would recommend checking out are Jakob, The Impending Adorations, Rosy Tin TeaCaddy and Stray Theories.
Q: What are your plans for the rest of 2013?
A: I have a few big and challenging soundtrack jobs on the horizon, which I’m very much looking forward to. I’m also performing the new album live here in Wellington at the Opera House on July 13th, working with some very talented musicians. Lots of work to do!
Q: As I listened to Stories From Elsewhere I often felt a wide variety of emotions from nostalgia, to hope, to unbridled exuberance. Can you talk a little about how the creative process began for you in the conception of this album? Does it begin with a feeling or does that come later?
A: It really begins with experimentation, playing around with different found sounds etc, finding a texture that works, and building upon it. I like to layer and layer different sounds and then strip them back once they’re too dense sounding, hence stumbling into dreamy soundscapes almost by accident. I enjoy writing music that has a reflective quality to it simply because that’s also the kind of music I enjoy listening to. I’m a fan of music that is sonically detailed and texturally rich, music that evolves. I don’t think melody is particularly important. Texturally ambient music has the power to allow you to dream up your own melodies whilst listening, one becomes part of the musical experience.
Q: Can you tell us about how you composed your music for Stories From Elsewhere? (Do you hear the music in your head? Do you need to write out?
A: Some melodies I definitely heard in my head and jotted down on paper, like ‘Nusquam’ for example. I wrote the core idea in something like 5 minutes on a piano, then obviously refined the arrangement later for a string section. Other tracks like ‘La Boîte à Musique’ for example took a long time to refine, simply because of the sonically manipulated and experimental manipulated nature of the piece. If there was any intention at all, it was to draw the listener into the intimate mirco-world, and then send them off into the cosmos using big guitar washes, strings etc. Having a music idea is one thing, but getting it somewhere close to what you’re hearing in your head is another. When I was writing the album I wasn’t thinking very consciously about my process, I find the best music comes out when I don’t think about it too much. I try not to break the spell. In retrospect, the album is a collection of experimental Chamber Music I guess. Only after its completion did I realise this.
Q: Is there a story behind the cover art?
A: I’d been a fan of Kieran Rynhart’s work for a while. We live in the same town. Early on when I had some rough mixes I asked him if he’d be interested in collaborating on the artwork with me. He’s a super intuitive guy, and after a few conversations he had pretty much immediately sketched out what I was seeing in my head. It was an amazing experience watching an idea come to fruition through someone as talented as him.
Q: What type of gear do you use to compose? Do you have any particular instruments that are your go to when it comes to ideas?
A: I use a few old tape recorders, many children’s musical toys, like musicboxes etc, old toy keyboards, piano, lots of guitar effects pedals, toy glockenspiels, my own voice through lots of effects to get an old choir kind of sound (like on ‘A Thimble Full Of Sorrow’). I also use an old8bit sampler, which I record sine waves through (‘Nocturne 1985’ was made with this). I’m a fan of lots of reverb - my Eventide H3000 is a favourite. I use Ableton Live to record and mix on, butI also mixed the core of the album with Lee Prebble here in Wellington, which was great fun.
Q: What's it like working with an entire orchestra?
A: I only actually worked with 9 string players. We just did a lot of layering to get a bigger sound.
Q: What types of artists are you listening to these days?
A: Currently I’m hooked on Fandango by the The Phoenix Foundation (another New Zealand band). American bands Helios and Hammock are big favorites in our household, and obvious influences on my new album. I’ve also recently been enjoying Alex Somers now defunct band Parachutes. I listen to lots of Eno’s ambient work, as well as Max Richter, Ólafur Arnalds. Some great New Zealand acts I would recommend checking out are Jakob, The Impending Adorations, Rosy Tin TeaCaddy and Stray Theories.
Q: What are your plans for the rest of 2013?
A: I have a few big and challenging soundtrack jobs on the horizon, which I’m very much looking forward to. I’m also performing the new album live here in Wellington at the Opera House on July 13th, working with some very talented musicians. Lots of work to do!