Part 1

Name: Suki Sou
Nationality: Burmese-Japanese-Chinese
Occupation: Composer, sound designer, model, radio presenter
Current release: Suki Sou's Notes On Listening is out via Curious.
Recommendations: First up, we have Agnes Martin's Fiesta, 1985. This painting is a true masterpiece of geometric combinations and hand-drawn lines that somehow manage to convey a sense of undisturbed quietness for me. It's like taking a deep breath of fresh air and just letting your mind drift away on a cloud of pure calmness. And the fact that it's called Fiesta just makes it even more special.
Although, to really get in the zone and enhance your experience of Fiesta, I recommend listening to Éliane Radigue's Triptych. This piece of music was originally commissioned for a live dance show, and it magically blends in with Agnes Martin's work in the most unflinching, less-is-more kind of way. The gentle hums and swooshes from the giant monophonic ARP2500 create a layered textural tundra that you can just get lost in. It's like taking a journey through the depths of your own consciousness, and coming out the other side feeling renewed and refreshed.
Both Agnes Martin and Éliane Radigue have a commitment to long-form stasis that is mysteriously essential in the most extreme manner. Their work tunes your attention to a place somewhere between committed focus and surrendered consciousness, and it's within this state of mind that you can attempt objective observation of their art. Both extremely courageous and edifying for me.

If you enjoyed this Suki Sou interview and would like to know more, visit her on Instagram, Facebook, and twitter.



When did you start writing/producing/playing music and what or who were your early passions and influences? What was it about music and/or sound that drew you to it?

Growing up, my mother urged me to learn the piano for its cognitive benefits, but I felt trapped and confined by the rigidness of Western traditional music theory. As a result, I began searching for more unconventional and spontaneous musical structures that focus on the overlooked elements in our environment.

I remembered the ambient Buddhist chants I heard at my aunt's psychiatric hospital in Macau, to the minimalist phasing pulses of Steve Reich introduced to me by my Japanese electronic musician friends in Brighton, the unhinged harmonic counterpoints of MBV from my previous band mates in Novella, and the hypnotic arpeggios of Laurie Spiegel while researching cosmic music. These influences all shared a common theme of creating immersive and transcendent soundscapes that stir deep emotions within the listeners.

The power of sound to elicit emotions, memories, and physical sensations fascinated me, and drove me to explore alternative ideas, structures, and techniques for creating more organic and natural soundscapes. I found that by incorporating both chance-based operations from aleatoric theory and fundamental waveform techniques, along with minimal elements, I was able to craft a distinctive scheme that deeply resonated with my thinking.

When I listen to music, I see shapes, objects and colours. What happens in your body when you're listening and how does it influence your approach to creativity?

As a synesthete, my perception of sound is inherently linked to visual and tactile sensations. This influences my approach to creativity by allowing me to build aural tapestries filled with chromatic opalescent patterns.

My compositions are inspired by the quotidian, the overlooked, and the pleasurable, and are built around natural elements, silence, and focus.

When I am listening to music, I am attuned to the vibrations and frequencies around me, and I use this sensitivity to create music that hopefully resonates with the listener on a visceral level.

How would you describe your development as an artist in terms of interests and challenges, searching for a personal voice, as well as breakthroughs?

Oh, it's definitely been a journey of self-discovery! I think we've all been there - trying to emulate our favorite artists by tinkering with gear, sounds, and structure. But as I delved deeper, I realised that there was so much more to it than just copying someone else's sound. I wanted to understand the root of what made their perspective so compelling and evocative.

Finding my own “sound” was definitely one of the biggest challenges, it took a lot of experimentation with different techniques before I found what really spoke to me. And even then, it was a process of trial and error before I found a collection of methods that felt right and honest to myself. It's like being a chef who has never been to culinary school, but can cook an incredible plate of food just by using their instincts and senses.

It can be daunting to think that you don't have the "proper" training, especially in a field where there's a lot of emphasis on technical knowledge and theory. At times, I felt like my music would be dismissed because I didn't have that academic background in composition. But then I acknowledged that my approach was just different, not necessarily inferior. It's like having a unique ingredient in your sound palette that allows you to create new hues that nobody else can.

This is all a constant process of growth, a never-ending loop. ♾

Tell me a bit about your sense of identity and how it influences both your preferences as a listener and your creativity as an artist, please.

As a person with a multicultural background, my listening experience has been influenced by the diverse stories, scenes, and cultures around me.

Having been born in Macau, which was formerly a Portuguese colony, to a Burmese engineer father and a half-Japanese, half-Chinese accountant mother, I have been exposed to a wide range of musical genres, from Chinese bells sounds all the way to Chopin and everything in between.

But it's not just the sounds themselves that fascinate me, it's also the stories, culture, rituals, and language behind them. The power of music to transcend cultural, linguistic, and physical barriers to bring people together in a shared experience is truly bloody remarkable. Music has the ability to transport us to new realms of sensory experience, evoking emotions and memories that we may not have otherwise accessed.

HAHAHAHA, BUT! this power can also be harmful if used unscrupulously. In the wrong hands, music can be used to control and influence people in unethical ways, such as in advertising, political campaigns, propaganda, brainwashing, and manipulating people's emotions. I'm trying my best to use this tool wisely.

What, would you say, are the key ideas behind your approach to music and art?

To make this precise, my work centers around 3 areas: experimentation, exploration, and innovation. I’m super interested in making work that speaks to people from all backgrounds. I am deeply fascinated by the neglected sounds that surround us in our daily lives. I love to challenge conventional thinking and ask questions that push boundaries.

One question that really intrigues me is whether we are truly hearing everything that we think we hear. That's why I'm interested in infrasound and ultrasound. While these sounds are imperceptible to the human ear, they play significant roles in SO many natural and man-made phenomena.

For instance, infrasound is below the frequency range of human hearing and is produced by natural events like earthquakes and thunderstorms. On the other hand, ultrasound is above the frequency range of human hearing and is used in many industrial and medical applications, such as imaging and cleaning.

I’m engrossed in exploring the world of sound beyond what we can hear and to uncover the important roles these sounds play in our environment. Even the smallest details, like the sound of hair standing up from hearing three heavy boxes being dropped on wooden floors, can hold deep meaning and satisfaction. It's my aim to encourage people to pay closer attention to the sounds around them.

How would you describe your views on topics like originality and innovation versus perfection and timelessness in music? Are you interested in a “music of the future” or “continuing a tradition”?

Hey, I LOVE this question, love this debate! Yep … I 100% believe that both originality and innovation are absolutely crucial. In order to push the boundaries of what is possible in music and create something truly unique, it's important to explore new sounds, techniques, and technologies.

At the same time, I also believe that there is something truly valuable about paying homage to the past and honoring the traditions. By acknowledging the pioneers and innovators who have come before us, we can stay connected to the roots and honor the techniques and sounds that have paved the way for modern music production. For me, I strike a balance between these two approaches.

The emergence of artificial intelligence and new music production tools has definitely added a new layer to this discussion. On the one hand, AI and DAWs offers incredible possibilities for creating completely new sounds and styles that would have been impossible to achieve before. However, there is also a risk that relying too heavily on technology that could lead to a loss of the human touch and emotional depth that is so important in music.

Ultimately, I believe that the key is to use new tools in a way that enhances our creativity and expression, while still remaining grounded in tradition. By embracing both innovation and tradition, we can create music that is both fresh and exciting, but still carrying the spirit of the pioneers who came before us.

Over the course of your development, what have been your most important instruments and tools - and what are the most promising strategies for working with them?

I have found that my most important tools are actually my ears and my capacity for listening, hahahah!

That being said, I of course rely heavily on instruments and tools such as analogue synths like the Buchla Easel and ARP 2500 at Willem Twee Studio as well as DAWs and VSTs. To get the most of these tools: Mega important to understand their unique characteristics and have the willingness to experiment with different combinations.

Tech and gear are just tools to help shape the sound. It is human creativity and expression that truly drive the creative process.

Take us through a day in your life, from a possible morning routine through to your work, please.

A day in my life is pretty jam-packed! I'm not just a musician - I also have a full-time remote job as an executive assistant to two founders at a Web3 company that focuses on the token. My mornings usually start with a strong cup of Japanese V60 filter coffee, a tons of water, and a lot of multitasking.

I have my little office / studio space here in the Peak District … depending on the day, I’d create a new patch on my Buchla Easel, often from what I’ve learned from Suzanne Ciani’s Buchla cookbook or watching Todd Barton’s YT videos, or just notes from previous experiment, and I’d record a sequence of sounds on the Korg SQ1, and listen to the loop when I’m working. Our house is in the middle of a farm with fields filled with birds, horses, and sheeps, so the ambient countryside background sounds just add another layer of natural soundscapes.

[Read our Suzanne Ciani interview]

Sure, there are always unexpected twists and turns - like having to put out a corporate fire or getting struck with an idea during a meeting - but I thrive on the chaos, it is all about being adaptable and finding a balance.

I'm grateful to be able to pursue my passion in both music and the Web3 world. Who knew that juggling two worlds could widen your perspective so much?