This is the second in a new series of interviews where one artist interviews another, five questions each. Lately i’ve been hearing daily interviews and I’ve noticed too many similar questions keep coming up again and again. I’m hoping that the artist/artist format can give readers a better idea of what’s on the artist’s minds. I’ve also asked each artist to pick two songs which they’ve been listening to, all of which are posted above.
LOSCIL INTERVIEWING LUSINE
LOSCIL: If the world lost electricity tomorrow, would you continue to make music and how?
LUSINE: I would for sure. I used to plink around on the piano quite a lot. But, I’m not great at trying to come up with musical concepts before I mess with samples first, so it would be a challenge to write. And I think it would force me to collaborate a lot more, something I’m not always great at.
LOSCIL: Being a resident of the Republic of Cascadia, how (if at all) has this place influenced your music?
LUSINE: I love it up here. I think it’s nice to write music when it’s rainy outside, and it’s also a great place to escape the studio and go on a quick hike. As much as I love the big city, being in Seattle gives you a nice balance between the urban and natural settings.
LOSCIL: I’ve not heard any of your soundtrack work but I would really love to know more about this as I’m a big fan of soundtracks in general. How does your approach to music change when you work on soundtracks?
LUSINE: It changes in the sense that I’m not really making the music for myself. It’s nice to take direction and have a clear focus on what sound the director wants. And it forces me outside of my own set style limitations. It’s a good way to learn how to write different music and use instrumentation I normally wouldn’t use. But, I like to be able to balance that with the total freedom of making my own music, so I can take what I learned and apply it to my own music.
LOSCIL: Assuming music is your first love, what form of art is second closest to your heart either as a maker or appreciator?
LUSINE: Film. I am a slight bit of a nerd when it comes to movies, and maybe a bit too critical (or so my friends seem to think). But, it’s definitely my first outlet when I am wanting to think critically about an artform that I’m not completely invested in (although that has been changing over the years).
LOSCIL: What is your favourite sound and why?
LUSINE: My favorite sound?? When all is said and done, it’s probably the sound of laughter.
LUSINE INTERVIEWING LOSCIL
LUSINE: I think that maybe I hear a lot of ebow in your later releases. Regardless, it inspired me to get an ebow myself.Do you write any of your music on the guitar first, before layering it with electronic sounds?
LOSCIL: I didn’t play the ebow parts on Plume, they were played by my best friend Steve Wood and my lovely lady Krista Marshall. Despite being a guitarist, I seldom use the guitar in the creation of loscil music. Motoc is an exception. The main chord progression on that was created on the guitar and the pads are formed out of samples from those chords recorded on a classical guitar.
LUSINE: I still kind of have gearlust, despite that fact that a lot of the things I’m interested in probably won’t change my music all that much. Do you still have instruments or equipment that you would like to add to your studio?
LOSCIL: It’s funny because although I too love gear, I’ve always been a bit of an economist (read cheapskate) in this department. For years as a drummer, I didn’t own my own drums. But every now and then I certainly succumb to the desire to own some special piece of gear. The Monome is up there on my list.
LUSINE: Does making sounds for video games give you any ideas that you can use in your solo work?
LOSCIL: Sometimes. The fortunate thing about my day job is I’m always practicing and honing my sound design and composition skills. It is a real joy to spend most of my days thinking about sound. On the other hand, I tend to do a lot of the same things at work. It is a job after all. Spending long hours during the day in front of the computer does not bode well for doing the same with my evenings and weekends so it can be a struggle at times to sit down to work on loscil after working on game audio 40+ hours a week.
LUSINE: How long have you lived in Vancouver? What’s your favorite aspect of that city?
LOSCIL: I’ve been here for a little over 20 years now which is hard to believe. Vancouver’s physical beauty is pretty hard to escape. We are surrounded by mountains, forests and oceans and they are all accessible. The population is growing but it is still reasonable. The coffee and beer are good.
LUSINE: Is there any sort of emotional subtext, or something that inspires you to write such hypnotic and fluid music (possibly other artists/artforms past/present?
LOSCIL: If there’s a subtext, it is pretty subconscious. I’m ultimately inspired and motivated by feeling itself. I enjoy the moment I can create a chord progression or a particular texture that speaks to me and feels expressive of something I cannot otherwise express… it’s not something that I can put into words or draw on paper or realize in any other fashion – it is just that gut feeling of something having meaning beyond myself. Ultimately, I’m inspired by many musicians of all sorts but I think it’s that core act of searching for expression that inspires me to continue to make music.
Maybe New Jersey has hidden stacks of Italo and Synthwave records in their used record stores? Both Teeel and Com Truise come from there and have been on a tear lately putting together songs that are journeys into lush melodic lands in space. They have given the ISO50 readers the exclusive FREE download for this remix, enjoy: COM TRUISE – IWYWAW (TEEEL REMIX) – FREE DOWNLOAD
Starfawn shared this song with me last night by Dirty Beaches, definitely not hard to notice his influences but that doesn’t make me not want to put it on repeat.
Wanted to share this free Faux Pas track I found, reminds me of the good ol’ days of Ninja Tune meets when Caribou was Manitoba, those horns are great, grab it here for free.
If a band gets a CFCF remix i’m usually game to hunt it down and listen. Its definitely one of those softer dance cuts that are easy to swallow no matter what kind of music you listen to.
Here it is, Mogi Grumbles’ album which is a tribute soundtrack to the original Tron movie, below is some info about Mogi and the project which is a 60 minute recut of the movie with the album synced to it. The score/album is all done by Mogi Grumbles, please go and download.
“End of Line is an original re-score of the movie Tron (1981), created by Ann Arbor native French / Disco House antihero Mogi Grumbles. End of Line is a 100% independent composition that lives wholly outside the original film score by Wendy Carlos and Annemarie Franklin.
The result of a live collaboration between Alex Taam and video editor Christian Silbereis, a re-cut of the film featuring the Mogi Grumbles re-score has been released as a companion piece for your viewing pleasure.”
I made this semi continuous new Aarnio mix last night of songs that I love to loop and fall asleep to and shared it with a friend. Its a pretty rewarding listen if you enjoy collections of songs in a row that concentrate on depth in tone and calm airy patterns.
Made for people who love the admire the beauty of the ocean at night, listening to trains from a distance and the echos from a large church bell.
Bill Baird – Slow Implosion Burger/Voigt – Frieden Rafael Anton Irisrarri – Blue Tomorrows Yagya – Snowflake 9 Gas – Zauberberg 3 Casino Versus Japan – Vessels That Float Out of Metals That Sink, Part 3 Loscil – Lake Orchard The Sight Below – Burn Me Out From The Inside Biosphere – Houses On A Hill Jan Jelinek – Do Dekor Supersilent – 10.8 Slowdive – Melon Yellow Burial – Forgive
A handful of talented musicians were kind enough to do a last minute holiday cover song for all of us. Beautiful Bells might have won my heart over with probably the best experimental beat holiday song ever made. While Sun Hammer and Direwires duel it out over Silent Night, both takes will hold your patient ears with warming results. Toronto’s Warren Hildebrand aka Foxes In Fiction does an impeccable job of covering John Lennon and label mate Weed takes on the ever popular All I Want For Christmas and roughs it up perfectly with his notable garage sound. Last but not least the duo The Depot-Tones:
“Attached is a cleaned up, restored version of The Depot-Tones covering “Wonderful Christmas Time”. This was from a 7″ culled from the 45 dollar bin from Cousins Records during a recent digging expedition. The true identity of the Depot-Tones is shrouded in question, and every answer leads to five more questions. The best I’ve been able to figure out is the lead singer lived near Prospect Park and the rest of the band were all employees of the Chick-Inn drive in. This was a holiday promotional item sponsored by the Ypsilanti Chamber of Commerce and given away to customers. This is indeed excellence aged in cuban rum and virgin oak barrels and bottled in containers of crystal.”
Dry Waves is a compilation put together to show how gorgeous and diverse music can get when you stay away from filing work into genres. All the musicians on the compilation I personally feel are on a path of making music that keeps me on the edge of my seat when it comes to new ideas and experimenting.
Non-Format is one of the most exciting studios working today. Comprised of Kjell Ekhorn (Norwegian) and Jon Forss (British), Non-Format is known for an exceptionally innovative approach to typography and a fresh, boundary-smashing graphic style. Clients such as Nike, Coca Cola and The New York Times have all tapped the studio’s award winning and internationally acclaimed design talent. Operating on two continents, Non-Format is based in Oslo, Norway and Minneapolis, USA.
One of my first assignments at design school was to bring in some books that I found inspiring. As I had just started the program, I didn’t really have much to show for myself, and I distinctly remember arriving that day to see that around 3/4 of the class had all brought the same book: Non-Format’s Love Song. The extent of their influence on the field of design became immediately clear to me. Since then I’ve kept a close watch on the studio and am always excited to see what they’ve been working on. Recently I had the privilege of interviewing Jon and Kjell and our exchange is after the jump.