Name: William Rezé aka Thylacine
Nationality: French
Occupation: Producer, saxophonist, composer, performer
Current Release: Thylacine's new album Roads Vol. 3 is out via Intuitive.

If you enjoyed this interview with Thylacine and would like to find out more, visit his official website. He is also on Instagram, Facebook, and Soundcloud.  

For a deeper dive, read our earlier Thylacine interview.



When I listen to music, I see shapes, objects and colours. What happens in your body when you're listening? Do you listen with your eyes open or closed?

It might be surprising, but I don’t actually spend that much time listening to music. I spend far more time making it or playing it.

When I’m creating, I always see shapes, colours, and even places. I don’t need to close my eyes for that to happen – it’s just there.

But it doesn’t work nearly as well with other artists’ music.

How do listening with headphones and listening through a stereo system change your experience of sound and music?

Strictly speaking, headphones are the best stereo system you can have. But if the question is really about speakers versus headphones, then that’s a very interesting subject.

I constantly switch between the two when I’m working on a track. I used to work only with headphones; they make it easier to get carried away by creativity, and almost everything sounds better on them.

The downside is that I would always add too many elements, because headphones let you hear absolutely everything you introduce. Speakers, by contrast, push you toward minimalism and help you find the true essence of the track.

Tell me about some of the albums or artists that you love specifically for their sound.

Max Cooper is a crazy guy in terms of sound. I admire how deeply he goes into experimenting with textures and small sonic elements.



And maybe Kiasmos, for the balance they strike between electronic and organic or ambient sounds.



[Read our Max Cooper interview]
[Read our Janus Rasmussen of Kiasmos interview]
[Read our Ólafur Arnalds of Kiasmos interview]

Do you experience strong emotional responses to certain sounds? What kind of sounds are these, and do you have an explanation for these responses? Are there sounds you find irritating and others you could listen to for hours?

It’s very common, but right now I really miss birdsong – I could never get tired of it. Add a little wind in the trees and it’s heaven.

During my recent trip to Namibia for my last album, I also fell in love with the sound of sand being swept by the wind over the dunes – so beautiful.

And on the opposite side of the spectrum: I hate fridge noises, ahah.

Are there everyday places, spaces, or devices that intrigue you because of the way they sound? Have you ever been in spaces with extreme sonic characteristics, such as anechoic chambers or caves? What was that experience like?

I recorded some saxophone in a sea cave in the Faroe Islands – the way the waves resonated was beautiful.

I played improvised saxophone for an hour from a small dinghy, and later selected parts of that recording and turned them into a track called “Alda” on my EP ROADS vol. 2.



What are some of your favourite spaces to record and play your music?

I love caves for recording wood or wind instruments. You can play a single note and have fun with whatever the space gives you back.

My favourite places to perform are always ancient outdoor theatres, like Roman ones. They’re built so that everyone can see and hear well no matter where they’re seated. And because they’re outdoors, the sound is much better for amplified music: almost no feedback from the space, no resonance from ceilings or walls, and no audience members blocking the sound path.

I wish we still built venues like that.

Do music and sound feel “material” to you? Does working with sound feel like sculpting or shaping something?

Not sound specifically, but a track – yes.

I can see the structure and the elements. It’s a bit like a sculpture made of different materials and shapes packed together.

Sound, song, and rhythm surround us – from animals to ocean waves. What are some of the most moving experiences you’ve had with non-human-made sounds?

A bit cliché, but I had the chance to record whales and orcas in northern Norway using hydrophones, and it was magical.

Hearing sounds coming from beneath you in a completely silent environment – while barely seeing the animals except for the occasional spout at the surface, felt surreal. Like having access to another world.

Many animals communicate through sound. Based on experience or intuition, do you feel that interspecies communication is possible and important? Is there a creative element to it?

Possible, yes. It already happens with our pets; cats developed meowing specifically for humans, if I’m correct.

And it would be incredibly important if more people actually wanted to listen.

Tinnitus and hyperacusis are real risks for anyone working with sound. Do you take precautions, and if you’ve ever struggled with these issues, how do you cope?

I’ve always been careful, mostly because it’s so scary!

It’s not that I never play loud music, but I don’t stay in loud environments for long periods. I’m very sensitive, so I just listen to myself and leave when I start feeling discomfort.

We can surround ourselves with sound every second of the day. Glenn Gould even considered this the ultimate delight. How do you see it, and what importance does silence hold for you?

I love silence. Honestly, the best thing about having a professional studio is the silence.

Every morning, I arrive and spend some time working in complete quiet, and it’s the best thing ever.