Part 2

Already as a little kid, I was drawn to all aspects of electronic/electric music but I've never quite been able to put a finger on why this is. What's your own relationship to electronic sounds, rhythms, productions like – what, if any, are fundamental differences with “acoustic“ music and tools?

For me, the worlds of acoustic and electronic music have been drawing ever closer together. While I used to listen to more electronically created music in the past, today it's 50/50. I try to see it holistically.

A rhythmic rumble of a car or the rustling of keys has as much significance for me as when I create a sound synthetically.

Sometimes I'm fascinated by the precision and power achieved with electronic music. For example, the power of an electronic bass drum, which has become so important today across many genres.

Late producer SOPHIE said: “You have the possibility with electronic music to generate any texture, and any sound. So why would any musician want to limit themselves?” What's your take on that and the relevance of limitations in your set-up and process?

Limitations are very important in my process. Much of the music I’ve created would never have started or taken shape if I hadn’t set limits for myself.

It’s true that electronic music offers limitless possibilities for working with sound, but imposing limitations can have a different effect. It encourages you to be more focused and invested in the sound you’re working on.

In the end it is a balance of freedom and constraints, without constraints you can’t move forward.

Could you describe your creative process on the basis of one of your sounds, pieces, or live performances that's particularly dear to you, please?

Most of the time, I try to record a longer section of sound and model it live. Sometimes this results in sequences that are over 20-30 minutes long, from which I find a section that I like.

That’s also how it was with “Pigeon Blinks.” I focused on an arpeggio sequence that I modulated with filters, which almost gave the track a musical effect.



This captured 6-7 minute sequence is actually the first recording that remained in the final track. I tried to record it again, but I could never recreate the feeling of the first take. So I expanded it by adding deeper bass and atmospheric elements. After several overdubs, “Pigeon Blinks” finally came together.

In my recent live performances, I’ve started to incorporate a bass guitar to play certain songs myself. Initially, the songs had an electronic bass line, but switching to a live element has made them groovier for the stage, which I really enjoy. Plus, playing the bass guitar is just plain fun.

In relation to sound, one often reads words like “material”, “sculpting”, and “design”. How does your own way of working with sound look like? Do you find using presets lazy?

In the end, I believe that what matters is the idea and the finished track, which is why I think it’s legitimate to use presets. I often just try to enjoy the process and, after creating the sounds, think about how to use them.

You need to separate certain parts of the work; otherwise, it’s hard to stay motivated and make progress. Only those who embrace this process can create what is called a "unique sound.“

Of course, I also use sound libraries, but mainly to get new ideas or test certain combinations.

To some, the advent of AI and 'intelligent' composing tools offers potential for machines to contribute to the creative process. What are your hopes, fears, expectations and possible concrete plans in this regard?

It’s interesting to work with these tools as long as they are used creatively and enhance your own work, or simplify processes that are long and repetitive. However, I try not to become too dependent on them.

First and foremost, the fun of being creative is what matters. I hope that it makes the music landscape more creative overall and brings forth new, unexpected worlds. But it doesn’t make much sense if AI composers emerge and only produce ordinary material that lulls us to sleep.

Otherwise, I find the development interesting and try to approach it with an open mind.

How important is sound for our overall well-being and in how far do you feel the "acoustic health" of a society or environment is reflective of its overall health? What importance does silence hold in this regard from your point of view?

When you look at the noise that blows at us daily in city life, it’s a very important aspect to consider.

Living in a city is simply more stressful than being in a less populated place surrounded by nature, like a forest or the sea. Some cities are just too overcrowded in that sense; maybe it can be improved, but at a certain point, it becomes almost impossible.

I’ve increasingly realized how important silence has become for me, and I’m always seeking balance—otherwise, I’d burn out.

Tinnitus and developing hyperacusis are very real risks for anyone working with sound. Do you take precautions in this regard and if you're suffering from these or similar issues – how do you cope with them?

I’m very aware of these risks and have spent quite some time learning about them, especially after a listening incident I experienced. Fortunately, nothing serious happened, but it made me more cautious about the risks of working with sound.

I use special earplugs that reduce the dB level when I’m in clubs or other loud music environments. However, it’s sometimes difficult to use them while performing, as they alter the sound experience too much.

In general, I try to keep the monitors as low as possible and take breaks from loud music when working on a project. When making music, I also try to avoid being in overly loud environments.

Seth S. Horowitz called hearing the “universal sense” and emphasised that it was more precise and faster than any of our other senses. How would our world be different if we paid less attention to looks and listened more instead?

Maybe our world would be a deeper place if we didn’t put so much emphasis on appearances.

We’d listen to each other more, and our relationships could become more meaningful. Expensive shoes and clothes wouldn’t matter as much, and people would focus more on character and ideas. Instead of following beauty standards, we could put more emphasis on innovation and creativity.

All this may sound maybe too idealistic, I agree, but maybe there is a chance in that direction? We might also understand nature better and feel more connected to the Earth if we took more time to listen.