I tried to capture some of that intimacy in parts of the album but of course those were more planned out, which is a mistake in a way, cause you can never plan for spontaneity. Whatever we recorded is what we released. OA: Life Story Love and Glory is a completely improvised recording, which is why I think you can still hear me walking across the floor to the piano at the beginning of one of the tracks. Did the recording process of those singles differ from this one, in terms of the amount of background sound you included? There is still a bit of that intimacy on the quieter numbers like “momentary” and “saman” KB: I love all the sounds and textures you can hear when you listen closely to Life Story Love and Glory. For example, on the album cover for re:member, each dot corresponds to a piano note in the title track: 88 fields correspond to 88 notes the thicker the dot, the higher the frequency of that note being played. He used the Stratus software as a starting point and made his own software that could translate the same midi signals I was using for the music into artwork. ![]() OA: I got a friend of mine, Torsten Posselt from FELD studios in Berlin, to make it. KB: What’s the story behind the album art? Most of the best collaborations happen that way, spontaneous, no matter the background. One night he came over, we had a drink, and I played him this demo I had just started working on. SOHN was renting a studio space for a little while in the same complex as my studio. KB: What was it like working with SOHN? How was that process different from working with others from a more classical realm, or someone like Nils Frahm? something like a familiar word or, in my case, the piano. ![]() OA: The colon is there for people to stop and revaluate something they think they know, e.g. That’s where all the best music comes from. Through making Stratus and trying to rediscover my own music I found a way to help my get lost in the flow of making music. KB: Making this album was a long process of exploration and experimentation. To become a member, so to speak, of yourself again. OA: To me it means kind of the opposite of dismemberment-to become yourself again. KB: Can you tell me more about the title formatting for this album? The colon placement in the album title re:member is peculiar, and all of the songs are written in lowercase. Very often the most important moment of the song is not the climax but what comes after the climax. I’m always aiming towards moments like that. The idea of it is a quite simple question/answer type structure where a theme is introduced and constantly built on to a climax until at the end you have just the string quartet playing a more simple, melancholic version of the theme. OA: That one actually took a little while to put together-one of those tracks which you never know if are actually going to end up on the album or not. KB: Can you please talk to me about the build in “inconsist,” and generally about how you use layering, effects, and dynamics in your music? Sometimes my thoughts were better “channeled” through an Icelandic word rather than English. OA: I chose a word that I felt fit to that particular song. KB: Can you also explain the decision for the language of the song titles? How did you decide which song would be in which language? ![]() (We usually ask this question, and have gotten answers that are everything from describing the ingredients of the sandwich their music would taste like, to a simple one-word response like “canyon” to a more musical description like “percussion sonnets.” You’re free to describe it however you’d like.) Please describe your music without using genre names. KB: You’ve mentioned that the neoclassical classification is irrelevant. We had a chance to hear more about the bleep bloops of his piano before his upcoming concert at Berklee Performance Center. Read on to hear more, and grab tickets to catch him live this weekend. The audio also doesn't seem to be able to overlap eachother.On his latest work, re:member, Iceland’s Ólafur Arnalds blends technology and music not only in the sounds itself-he uses a special software to create a unique chorus of pianos-but in the creation of the cover art as well. The issue with this is that it's somewhat tedious to get, and it tends to seem "off" if that makes sense. The script goes like this to play a soundĪnd via Tyranoscript, I'd have the bleep/boop whatevers, play whenever it reads a so it'd look like this in the Tyranoscript So my issue is that I'm wondering if there's a better way to get the same effect I wrote this script for.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |