Crossing over

There seem to be two fundamental tendencies in music today: On the one hand, a move towards complete virtualisation, where tracks and albums are merely released as digital files. And, on the other, an even closer union between music, artwork, packaging and physical presentation. Where do you stand between these poles? 

I am a big believer in releasing music as a physical and tactile product. The packaging of an album is important to me and other people I know in the industry. It’s not about how many or how fancy one should make a release but how meaningful it can be and how it can be used to best reflect the music.

The most beautiful music I own is from the smaller labels, they put hard work and love into each release. They don’t rush things and this is reflected in the end product. That being said, I do buy music digitally, usually for those releases that aren’t available in any other format. I’m quite happy to support the musicians if this is the case.

The role of an artist is always subject to change. What's your view on the (e.g. political/social/creative) tasks of artists today and how do you try to meet these goals in your work?

I have no political or social viewpoint with regards to my music although I realise that some artists do. That’s up to them. I think for me, I am always creating something new with each release, or at least I try to shift the sound palette a little from one release to the next. This is easier to achieve with collaborations because of the input from the person you’re working with.

Music-sharing sites and -blogs as well as a flood of releases in general are presenting both listeners and artists with challenging questions. What's your view on the value of music today? In what way does the abundance of music change our perception of it?

It doesn’t change my perception of music of exceptional quality. I will always refer to the artists that I know and love, and this is one thing I can rely on. The value of music is still as important as it ever was, I will never lose faith in good music, whatever genre, age or format it is released on.

I frequently visit the Fluid Radio site which is a great resource for new releases and anything music-related which can certainly open-up new avenues of sound from new and existing artists. I also rely on friends and acquaintances for recommendations. The music-sharing scene is there and always will be, it doesn’t bother me too much, and it’s something that I accept and is part of the musical world.

How, would you say, could non-mainstream forms of music reach wider audiences?

I think it’s already out-there, it’s part of everyday life, albeit slight. Music crosses-over into most people’s day-to-day lives, via cinema, radio and TV commercials pushing non-mainstream music into places which it would otherwise not be heard. I have been commissioned for several branded projects which have allowed me to be true to the genres I work with. Projects like this mean that my music can be heard by audiences who wouldn’t usually hear this type of composition.

Usually, it is considered that it is the job of the artist to win over an audience. But listening is also an active, rather than just a passive process. How do you see the role of the listener in the musical communication process?

I don’t mind if I don’t win over an audience. I make music for myself and if someone likes it, that’s a great feeling. I do however, always appreciate feedback from listeners, it’s enlightening to hear other people's perspectives and interpretations on what I release.

Listening to music is related to meaning and being and can be perceived differently to just hearing, so to know that people have listened is rewarding in its own right.  It’s great to have a following of people who admire what I do, without them I guess I wouldn’t sell any music!

Reaching audiences usually involves reaching out to the press and possibly working with a PR company. What's your perspective on the promo system? In which way do music journalism and PR companies change the way music is perceived by the public?

I don’t work with a PR company, so I wouldn’t know how things work in that regard. I think the promo system is all well and good if there’s a demand for it. If the music is good enough then it will reach the places with little or no promotion.

Music journalism is subjective. I know of a lot of people who rely on reviews and press for music, personally I don’t pay much attention to reviews.

Please recommend two artists to our readers which you feel deserve their attention.

Cluster, for shaping the future of electronic and ambient music in the early '70s.

Beastie Boys, ever-evolving, influential and innovative.

Read and hear more Tim Diagram at www.handstitched.net