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Inside The Mind Of A Visionary: zircon’s ‘Arcology’ EDM Album

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zircon

zircon, the mastermind behind the EDM album ‘Arcology,’ shares the heartfelt stories, inspirations, and creative process that brought his new project to life. Whether you’re a longtime fan or just discovering his work, there’s plenty to enjoy in this exclusive interview.

On a side note, zircon has been the owner and co-founder of Impact Soundworks since 2008. From creating virtual instruments for thousands (even Grammy & Oscar winners) to crafting layered electronic tracks, his love for exploring new sounds never fades.

1 – What was the initial spark that ignited the concept for your EDM album, ‘Arcology’?

Around 2016 or so, I took a hiatus from making electronic music as zircon. My focus was on creating my first video game (Tangledeep) and writing the score for that, and running Impact Soundworks. I put out a few tracks here and there but honestly, I lost touch with that part of myself a little bit.

Then in 2021, my wife did a livestream concert for charity during the height of the pandemic. It was a big success, but what stuck with me was how many zircon fans showed up to the stream, even though I was just running the A/V side and chatting a little bit between songs.

It was like seeing a group of old friends all arrive at your house at once. They were sharing the love for not just my wife’s music but mine as well, and expressing how much they wanted to hear more.

It really moved me, and the next day, I started working on ‘Arcology.’

2 – Is it correct to assume that you are also a fan of science fiction movies, series, or novels?

Oh absolutely, I love sci-fi. Authors like Arthur C. Clarke and Isaac Asimov, anime like Ghost in the Shell, movies like Interstellar and the Matrix, TV series like Star Trek, Battlestar: Galactica, Person of Interest… it’s my favorite genre of fiction.

3 – What role does storytelling play in your approach to crafting electronic music, and how does it manifest in this material?

When I come up with some kind of theme or visual image, it helps with writing and production. Sometimes I’ll have something in mind before I start, other times it crystallizes during the writing process.

It’s hard to put into words. Like if I’m thinking about say… a desolate, icy planet, that is going to be reflected in the chords I use, the tempo, the sparseness of the melody, and the sound design. Think of it as writing a soundtrack for something that only exists in the mind.

4 – As an artist who has worked on video game soundtracks, how did that experience contribute the cinematic quality of the album?

I’d say *working* on video games hasn’t changed how I approach electronic music much. But being a fan of video game music has. I grew up playing games of the Nintendo and Super Nintendo era, and those soundtracks were often super melodic with unforgettable atmospheres.

When I started making music with a DAW around 2003, the very first thing I wanted to do was remix and rearrange my favorite game music. The next… 7 years of my life or so were heavily intertwined with the game music scene. It’s where I met a lot of my good friends and even my wife.

All of that has definitely shaped how I approach music.

5 – How do you think the visuals and cinemagraphs will improve the listener’s experience of ‘Arcology’?

My hope is that the visuals will help tell a story as you listen to the music and reinforce the vibe I’m going for with each track. Obviously, it’s not the same level of complexity as something like a full animated music video for each song, it’s more about emphasizing the tone and atmosphere.

I feel like if you can listen to the album at least once and pay attention to each ‘scene’ for about 30 seconds it’ll increase your enjoyment of the music. Or you can just throw it up on your TV or second monitor as something that looks cool.

6 – How does ‘Arcology’ reflect the evolution of your sound since your debut album in 2004?

To say my sound has changed since 2004 would be an understatement. My really early stuff was just straight-up amateur, as you can imagine. From around 2005-2008 I was heavily influenced by artists like The Crystal Method, Chemical Brothers, Prodigy, Hybrid, and BT.

I mean, I still am, but those were at the forefront of my mind. Over time my listening tastes have expanded way out, which inspires my production to change as well. Compared to 5-10 years ago I’m simultaneously using more spectral & wavetable-type sound design, plus analog outboard gear – Eurorack synths.

I like to think that my melodies and chord progressions have also become more interesting. Part of that comes from listening to a lot of Japanese EDM artists who tend to use a lot of Jazz fusion-inspired harmony in their work.

EDM album

7 – What elements of organic electronic music do you feel are most present in these new tracks?

I think the ‘organic’ part of my style largely comes from the use of a lot of acoustic instruments and sounds. World instruments like koto and Javanese gamelan, solo violin, acoustic percussion, ‘found sounds’, ambient recordings – I can’t get enough of that stuff.

I think it makes the overall soundscape more unique and interesting. And then there’s the vocals. Not the leads – that’s relatively standard – but things like super layered harmonies and Pop stacks (like 6-8 voices from the same person stacked), and non-Western style singing techniques.

8 – How would you describe the experience of collaborating with Jeff Ball, Omega Sparx, and Jillian Aversa?

Well, I’ve been working with Jill since about 2006-7, right around when we started dating… we’ve been married since ’09, so working with her is as comfortable as it gets. She really helped keep the vision of Arcology clear and focused.

Our musical workflow is smooth too – usually it’s me writing temp parts, then working together to hammer it out a little further, followed by her writing lyrics, recording vocals herself, and sending me the vocal stems.

With Omega Sparx, since I had never worked with a rapper before I took a more hands-off approach. I just sent him the instrumental, plus the track concept, and said “do your thing.” And I’d say he killed it.

As for Jeff Ball, he’s an old friend and collaborator going on about 13 years now, easily one of the best violinists AND composers I know. For this album I’d just send him my quick violin mockups and he’d run with them, adding more emotion, nuance, and expression in his final violin performances. It was really smooth.

9 – Is there anything you’d like to say to the fans who have supported you throughout the years?

One of the things that gives me deep satisfaction when releasing an album or song to the world is when someone says my music moved them in some way. People have shared that something I created helped them through a really dark time in their life, or on their wedding day, or inspired them to make music themselves.

Combine that with people who have been listening to my work for 10, 15, 20 years – it really lifts up my soul. There really is nothing else I can say except “thank you” for enriching my life as well.


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By Erick Ycaza

Hi, my name is Erick Ycaza. I have a BA in Advertising & Graphic Design. This blog is to provide you with daily music news and share my personal style. Surprisingly, I have been blogging and writing about music since 2007.

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