Name: Lia Bosch

Nationality: Italian
Occupation: Multidisciplinary artist
Current Release: Lia Bosch's new album Polar Code is slated for release on November 29th 2024 via Glacial Movements.
Recommendations on the topic of sound: For those who wish to delve into the connection between sound and perception, I recommend The Auditory Brain by Michel Imbert.

If you enjoyed this Lia Bosch interview and would like to stay up to date with her work, visit her official homepage. She is also on Instagram.



Do you think some of your early musical experiences planted the seed of your interest in sound?

My early musical experiences were like epiphanies, moments of discovery where sound revealed itself as a language capable of evoking profound sensations. Every melody, every piece I heard during my childhood left an impression, becoming part of a sonic map that would later guide my path.

At home, music was a ritual experienced intensely: my parents moved between jazz, classical, pop, and rock, creating a rich soundscape full of colors and nuances. Music transformed the environment, filling the rooms with images and sensations that took shape, like open windows onto distant worlds.

Those moments gave birth to a sensitivity that would go on to shape my approach to sound and musical creation.

Do you have strong emotional responses to certain sounds? If so, what types of sounds are they, and do you have an explanation for these responses?

Certain sounds evoke deep emotional responses in me, not because of their aesthetic qualities, but because of the atmosphere they can evoke. In the quiet of night, the rhythm of breathing or a heartbeat took on a special meaning, as if I could sense a connection to something larger and intangible.

These intimate sounds, combining both fascination and unease, opened me up to a broader perception, revealing a hidden reality beneath the surface of things. Even random sounds—an unexpected creak, a rustle, the echo of footsteps—affect me similarly, conjuring images and moods.

Each sound becomes a miniature scene, a presence that appears and then fades, leaving behind a trace that stays with me.

Are there places, spaces, or everyday objects that intrigue you for their sound? Which ones?

The sounds of nature hold a particular fascination, as though they carry within them the eternal rhythm of life: the birdsong, the fall of rain, the flow of water. These sounds, in a way, make me aware of being part of something greater.

Every place seems to have its own unique sonic signature, an identity that leaves an invisible trace. The sounds of streets or a bustling café also become part of a personal sound diary I carry with me.

Each environment speaks without words, leaving a fleeting impression, a barely hinted memory that stays with me.

Are music and sound the same thing? What is the relationship between music and sound for you? Are there rules for working with sound, similar to those for working with harmony, for instance?

Sound exists in nature, a reality unto itself, while music is an act of transformation, a way of giving sound a chosen form.

There are no absolute rules for working with sound, but rather guiding principles, much like in musical harmony. For me, each sonic element must find its place in an intuitive order, respecting the natural character of sound without imposing limits.

This balance requires precision and attention, where every note and every silence is placed carefully, in a continuous dialogue between listening and creation.

What were your very first active steps in working with sound, and how would you evaluate your progress through experience?

My first steps into the world of sound were free explorations, without a clear direction but full of insights. Each attempt taught me something about the weight and role of each sonic element and how the combination of these elements can create something unique.

With time and experience, I learned to recognize what is essential and to value every detail, like in a painting where each brushstroke adds depth and meaning to the composition.

For your creativity, what are some of the most important things you have learned from teachers/tutorials, other sound artists, or personal experience?

The most valuable lesson I’ve learned is the importance of patience and deep listening. Learning to respect sound without immediately altering it is fundamental for me.

Other artists taught me dedication and precision; experience has shown me the intrinsic value of each sound and the power of simplicity, which often surpasses any technical complexity.

How and why has your musical setup changed over the years, and what are some of the most important instruments and software for you currently?

I’ve chosen tools that allow me to shape sound without shortcuts. I don’t use presets; sculpting each sound is part of the creative process, a way to give each element an authenticity that feels personal.

Today, my setup combines digital and analog tools, chosen not for their technological value but for what they can add to my artistic expression.

What is your relationship with sounds, rhythms, and electronic productions compared to music and “acoustic” instruments?

Electronic music offers limitless possibilities, a total freedom of creation, while acoustic instruments bring a tangible, almost physical quality that seems bound to the material world. Electronic music is a space of pure experimentation, while acoustic music involves collaborating with the natural characteristics of sound.

Both worlds are necessary for me, offering distinct perspectives that enrich my sonic language.

What is your opinion on this and the relevance of limitations in your setup and creative process?

In my creative process, I prefer total freedom, without predefined boundaries. I want each idea to find its space, allowing my work to grow through experimentation, where even the boldest ideas find a place.

This open approach enables me to discover new directions, nourishing the creative flow with infinite possibilities.

Could you describe your creative process on a specific piece?

My creative process often begins with an isolated sound or a base frequency, which I modulate through filters and reverbs to achieve depth and atmosphere. Then, I add layers of sound, each adjusted to specific resonances, to give the piece a sense of space and movement.

For “New Parameters” on Polar Code, I modulated timbral microvariations, alternating continuous moments with sudden changes and unexpected sounds. Each element is precisely placed to create a sonic texture rich with dynamism and tension.

What are your hopes, fears, expectations, and concrete plans regarding AI in the creative process?

Artificial intelligence represents, for me, a vast but enigmatic potential. It can offer new and fascinating perspectives, but I fear it might distance art from human subjectivity.

I hope AI will be used to expand creative possibilities, not replace them. In this sense, I see it as an ally, provided it is always guided by the artist’s intent and integrity.

How important is sound for our general well-being, and what importance does silence hold for you?

Sound profoundly affects the mind, influencing us like any other sensory experience.

“Acoustic health” is a reflection of our inner balance. For me, silence is essential: it is not merely an absence of sound, but a space of potential, an emptiness that allows sound to emerge with clarity.

In silence, sound takes on a deeper meaning, becoming a form of awareness.

Do you take precautions against issues like tinnitus, and how do you address them?

I am aware of the risks and take precautions to protect my hearing. Respecting one’s hearing is essential since sound can become invasive.

For those who suffer from tinnitus, dealing with this condition requires adaptation and a new level of awareness. It is necessary to develop new ways of listening, redefining one’s relationship with sound.

How would our world be different if we paid less attention to the visual aspect and listened more?

It would be a world where appearances matter less, making room for a more authentic and less superficial perception.

Listening requires openness and patience; it is an act that goes beyond immediate judgment and allows us to perceive the depth of things. By listening more, we might understand ourselves and others better, discovering a richer, more complex reality that reveals itself only to those willing to perceive it with sensitivity.