Nicole Russin-McFarland is an incredible multi-talented person. She’s a film director, music composer, journalist, model and more! During her tender youth art was coursing in her veins. She spent her childhood studying classical music and today she’s well prepared as to pleasantly surprise everybody with her art. Last year, the world first heard her compositions with the release of The Eyes of Old Texas soundtrack, so if you want to discover more about Nicole and her interesting life please read this interview.
1 – You’re very well known for your classical music compositions. Who are some of your biggest inspirations?
I love all kinds of film scores, whether they are traditional (Hans Zimmer) or experimental (The Social Network by Trent Reznor). Because none of us are ever perfect, you can never stop learning. Sometimes, I’ll listen to a particular century of classical music on the radio. It just depends. When I was in school and taking lessons, I had to play Rachmaninoff a lot, so I’m kind of sick of his work! LOL! Though I now love working with crazy chromatics, which I have a lot of saved up on themes I want to use.
2 – Tell us a little about your composing style/method.
I love chromatics for some reason. Also lately, when I’ve been doing themes for a particular film project goal I have in mind and doing really rough drafts, I’ve been fascinated by themes that start and end on the same note. Of course, because our first movie uses “The Eyes of Texas” – that’s how it’s called The Eyes of Old Texas, for the old song – I didn’t have much room to play with. But on the track “I Know What to Do,” I proudly made it really evil with lots of brass. Usually, the song is this really sweet and happy school theme song. I’m glad I got to make it angry for once.
3 – What’s your favorite and least favorite movie soundtrack?
I just love Gladiator’s score. It was one of the first ones I bought, and ironically, with an Eminem album and I want to say Christina Aguilera. That goes to show you how eclectic I am. Some of it almost sounds like it could’ve been out of a 1940’s or 1950’s drama. And then we have that really amazing theme that isn’t really in the movie a lot but plays when Maximus just confronted Commodus in the arena. When you remember a theme that much, you know someone’s done an outstanding job. I mention Hans Zimmer at times, so let’s have some backstory on him. Remember Pharrell doing both of the Despicable Me soundtracks? Pharrell actually did more than the “Happy” tune. He did a lot of the music, and Hans Zimmer was his boss on those films.
Alexandre Desplat is pretty much the other standard gentleman when it comes to great film scores. I advise people to check him out.
As far as least favorite film score, I don’t like those generic scores that fade into the background you usually hear on romantic comedies. Or any comedy. Throw in random clarinet here because Ryan Reynolds needs to break up. Stuff like that. A good score makes you remember the music as much as the movie.
4 – Have you only made soundtracks for animated/cartoon films? Why you love this movie genre so much?
No. Animation just happens to be what we are starting out with. I as a film director want to eventually branch out of that to doing both animation and live action. I have a lot of ideas, but due to the way filmmaking works, you don’t one day come out with your masterpiece as your first film. Nobody will watch it. You need to be established first – and that’s why I chose animation with my film’s co-executive producer because we both love animation, but at the moment, we also both have side occupations we’re trying to work on. He’s a celebrity chef and NYC restauranteur in addition to being a rocker. His rock band was the first professionally touring metal band in China. Meanwhile, I’m trying to get the books side of Lucky Pineapple Books + Films heavily established so I can have a bigger staff of people running things in the near future while I work on my movies. And, I’m currently animating this film…MYSELF. I have a lot to take on before I move onto scoring live action.
5 – Did you feel ready to call yourself a music composer after the release of ‘The Eyes of Old Texas’ soundtrack?
Of course! You are a composer when you release your first work to the world professionally. I would’ve loved to have called myself a composer when I was 11 to 12 though. Technically, I enjoyed composing then, and some of the themes I want to use in my future film scores are from that time period of my life. When you write a good theme, or at least a theme that sticks in your head for that long, it’s all how you do the rest. You really only need the theme. What you do with it can range from any kind of sound or emotion. You’ll see this a lot if you look at some of your favorite films. Indiana Jones is a great example of this my teacher made us study for our homework assignment. I guess unlike everyone else, I was paying attention in class! We had to play that and see how the same theme changes. The other day, I rematched the movies on TV as they had a marathon and I saw, “Yeah! That’s true!” The theme shifts around the whole movie beautifully, but it’s the same theme. You do so much with a simple basic theme.
6 – Are you currently working on a new movie soundtrack? Please let us know something fresh about it.
I have things saved on my computer and iPad I want to work with, but because I’m not done yet with finishing The Eyes of Old Texas – in both the animation process which is hard, and in how we’ve recently filmed backgrounds locally in Peru, Argentina, Chile, and are hitting Brazil – I want to focus on finishing the movie for now. As I said, the main importance is completing the themes, anyway. When the time comes to use them, I will be fine as I have the basics down.
7 – What do you love most about what you are currently doing?
My mind gets really bored by knowing what will happen next. For my mind to be happy, I have to train it like I’m doing puzzles. What that means is I have zero tolerance for doing the same thing over and over again. Of course, making a movie and composing classical music does involve some repetition, but nowhere near what most “regular” jobs involve.
For example, journalism I did not related to food or cinema. When I wrote about divorce and depressing relationship articles ages ago for one place I did journalism for, I hated it. Not only was it so awful to interview people about depressing subject matter, it felt like the same thing nonstop. I really wasn’t using my brain. I was sitting there taking notes and rewriting what people said about horrible things happening to them. Later on, I did this again, but the subject changed to stuff like, “Someone wants to take away my apartment.” Or people suing someone. I currently once in a while do food or film related journalism, at least interviewing someone in fashion, but because those people talk more about positive topics and creativity involved, and often business, I’m more interested. So not all journalism is bad and deadly.
8 – Have you ever being criticised for being a female music composer?
I’ve never had criticism about my gender with the job, but I have dealt with lots of sexist comments. I always explain it like this to people. When a young boy says he wants to direct movies, people give him a camera and how to book. When a girl says the same thing, they ask her to be an actress. Which is what happened to me all the time from 11 up to 27 until I, for lack of a better gesture, began speaking my mind when people told me to do. I’m not opposed to acting. If ever Will Ferrell called me up to be in Zoolander 3, I would love it. I love being funny and telling jokes. But acting is a choice someone makes. People often are really disrespectful when you express your interest in making movies or composing music. They ask you, “Why?” But men or young boys don’t get the why question. And, the other thing is, when I say what I want to film or compose, people have other suggestions for me. A women’s themed film CAN be good, like In Her Shoes, or it could be a disaster like most of them out there. And that’s what people generally, especially women, suggest I make. As far as music, women also like soft, dainty songs that don’t really have any particular strengths. Yet, I don’t.
9 – Which music composers or film directors would you like to collaborate with?
As far as music composers, James Horner died, so I can’t really collaborate with him. With my first soundtrack, we blended Brian Tsao’s rock music into chunks of it. I’d love to do that again with him forever…collaborate on film and music and see it sell big like a John Williams score! Or something putting classical over a shocking genre, like country or rap. Weird stuff like that always sounds good because it’s like how this horrible sounding fusion cuisine item on the menu may taste delicious! Being adventurous is the way to go! With film directors, I’m open to anybody who is serious about their work and blending music into it. The person doesn’t have to be famous. They can be an up and comer who’s made a few movies but wants to be the new Tim Burton, for example, and has that drive. Pedro Almodovar could be a fun gentleman to compose for though. He really uses music a lot in his work. And his work is crazy. I love that he defies standard genres. I’d say any DreamWorks cartoon too. I would jump for joy and dance in my room if DreamWorks Animation hired me to direct cartoons and compose the scores for them. I love Shrek so much and How to Train Your Dragon. The attitude!
10 – What are your future plans for 2016?
I want to do anything in my power in 2016 to make Lucky Pineapple Books + Films a force to reckon with. Everyone has to start from somewhere. And as I cannot rub in enough about my love of working for the “next Steven Spielberg” or whoever that “next” is, I hope people will see how I feel… when they look at me. Our culture is weird because we want all our actors to look unnaturally young and/or not to work with anyone over 30 for roles written for women in their 30s and 40s as Anne Hathaway has discussed, but we cling on the established film directors and composers. I love the guy, but honestly, at some point John Williams will no longer be with us. Nor with our favorite film directors. What do we have left? People who don’t know what to do anymore because most of their film directors of this generation 40 years old and under are taking the initiative of going on their own like these film directors did when they were young. It’s hard. I’m not denying that. But I’d love to establish myself on my company in that demeanor people had when they ran out and made the biggest movies they could at age 20-25. We don’t have that anymore. Nowadays, people lack drive.
Full Interview Out Now, Munatix Will Release “You Just Keep Hanging On”
“You Just Keep Hanging On” by Munatix is a classic SynthPop song for the 21st-century generation to be released on July 31st. Music acts like Erasure, Giorgio Moroder, and Chromeo were the source of inspiration behind this great tune. Obviously, it was produced in a contemporary way to make it sound fresh. Learn more about this Belgian duo and their new single in this exclusive interview with one of its members, Josh Sleurs.
1 — I’m loving your new single, “You Just Keep Hanging On”, how many synths did you use for this tune?
The song started out as a bunch of chords that evolved towards a song by adding a piano melody. Then I started stacking the synth sounds and left out the piano in the end. The lyrics followed later.
The first synth line added was the MiniMoog bass. To make it exciting, we added a phaser and an evolving digital delay. Giorgio Moroder used this type of delay a lot on his Disco records. So, how many… including the drum computer, about 6 instruments.
2 — Personally, I think it’s a highly singable song. Are you planning to drop a lyric video?
The song has a melody and lyrics with meaning. These days it is popular to make lyric videos. So, it would be a logical thing to do. However, every single release is an opportunity for us to show ourselves. We want people to know who we are, what we look like, and what we stand for. Doing a video shoot for a new single is a great opportunity to do that. Currently, we are editing the video. The video will be released onto YouTube, a week after the single release.
3 — What message are you trying to send to your fans about relationships?
Well, the song is about long-distance relationships. Through social media, we are always connected every minute of the day. We just have to push a button on our smartphone and we are there. We don’t even have to dial a number.
Do you want to share an impression of the location you are at? Just make a picture and send it, instantly. This can make you feel close to a person, even if there is a physical distance. The song describes what that feels like. Being always connected but missing the physical contact.
I started music when I was seven, I play synths since I was 9. That was the mid-eighties when bands using synths were revolutionary. My musical taste was formed in that era.
The synths from that era sound warm, phat, organic, lush, name it…, they just sound great. I lived through the digitization of electronic music instruments by the end of the ’80s and the ’90s. During the last 20 years, synth companies went through a lot of effort virtualizing the vintage analog sound in a digital way. In the last 10 years, there even is an enormous revival in analog electronic instruments.
Vintage analog synths are reissued, cloned in different ways. That means there is a lot of demand for that vintage sound. So the love for that sound, by musicians in general, never went away.
I remember playing a virtual software version of the Sequential Circuits Prophet 5 synthesizer in a music store 20 years ago. I fell in love immediately. I never had the opportunity to play that beloved and expensive original instrument. The software version got me acquainted with it. But I wanted the real thing. I wanted to be able to really play that instrument, touch it with my fingers, experience the presence, and see how it reacts to me when I turn the knobs.
My love for these vintage synths combined with my love for melody, harmonies, and classic song structures make our retro sound. Still the producing part is not retro. We use a modern computer with the latest software for recording with a bunch of virtual plug-ins for processing. We try to make it sound also contemporary in a way.
On our first single, “The Rhythm Sets My Heart On Fire” most of the sounds were coming from software synths. To come back to your question. Today everything is on YouTube. Martin Garrix showed us behind his desk how he made his groundbreaking track ‘Animals’. Avicii modestly shared some of his secrets in a YouTube video. You just have to take the time to watch it. We can just learn from the masters themselves online. We don’t have to go to school anymore. We just look online for what we need and take it in.
5 — Synthpop is a culture, not music. Do you agree or disagree?
I am convinced people do not only listen to music because of the music itself, but also the aura surrounding it. When you look at Synthwave, that has become a culture. It comes along with art, fashion, lifestyle. So I think you can call Synthwave a culture.
I think for Synthpop maybe this is less prominent. In history, there were a lot of branches from Synthpop where it was more prominent if you talk about New Wave for instance. But it is not always easy to box music into a category. We think we make ‘Synthpop’ because we use ‘synths’ and want to make ‘Pop’ music. So that is a logic contraction. However “Groovin’ Is My Hobby” appeared in a lot of Synthwave playlists on Spotify. Some people like to call our music ‘Electro-Pop’. I do not always know what the exact outlines are for those categories.
6 — A lot of fans have a nostalgic connection with your music. Are you afraid of taking a new sonic direction?
We want to make music that feels good to us, set out our own path, and follow that. Of course, we hope to find our audience that likes our music. Trying something new can be a risk. But if you do what you are passionate about, I think we will radiate that passion towards our listeners.
Ricky and I have a guitar Rock song in the store that we want to release in the future that reminds of the style of AC/DC. We still want to mix in some synths, but it will remain a Rock song. So we might have surprises up our sleeves.
7 — Besides composing your own tracks, what kind of services do you offer to the public as a production duo?, Are you open to collaborations?
In order to realize the goals we really need to focus on priorities. Since we are indie musicians and do the whole process of writing and releasing ourselves, there is not much time left. The past months, 4 remixes of Munatix songs, made by fellow musicians came out, which we think is nice. To do remixes ourselves, or do collaborations, that would be too distracting at this moment. Our first priority is to write an hour of music so we can start gigging. “You Just Keep Hanging On” is our fifth single, so we still have some work to do.
8 — Which artists have you been listening to in Lockdown?
I discover new music via the Spotify Discovery Weekly playlist now. My recent discoveries are DJ Storken, with “Lille Vals” and Rex The Dog, with “Do You Feel What I Feel”. Also, I have been listening a lot to the Pur Zynth’s Synthwave playlists and the ‘Synthpop Your World’ playlist. Other than that, I think the new Erasure album coming out sounds promising.
9 — Can we expect a new Munatix album for 2020? If so, tell us more about it.
At a rate of releasing 3 singles a year, 2020 will be too soon. We aim for 2022. Until now we have done a video for each release. Organizing that and editing the video almost takes as much time as making the music itself. But it is fun to do.
10 — Any words of advice for those newbie talents who want to dive into the world of synths?
Gear has become relatively cheap and choices are plenty. Good sound has been democratized and is now available to almost everybody. That means everybody can take their shot at making music. If you like vintage synth sounds and tweaking hardware you can start out with some Behringer vintage synth clones. A 400$ analog hardware MiniMoog clone was unimaginable 10 years ago. We live in exciting times.
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Quickfire Interview With: Mike1/2Nelson
Meet charismatic Indie-Pop singer, songwriter, and actor Mike1/2Nelson. His latest single, “Strongheart,” is for everyone out there fighting for what’s good and right. It’s about meeting challenges with bravery and courage. This tune is part of his recent EP, ‘All Are Welcome’, available to stream via Spotify. Check out the short and concise interview I had with the Brooklyn-based artist below.
1 – You’ve been composing songs since…
Since I was 6.
2 – You got involved in the music realm because…
All the other realms were taken.
3 – Your sound is…
Retrograde and futuristic.
4 – Your biggest inspiration is…
5 – People should listen to your new EP ‘All Are Welcome’ because…
7 –Your most memorable career moment so far has been…
Releasing my debut project during a pandemic.
8 – Your dream is…
10 – Your all-time favourite track is…
“All Through the Night” by Cyndi Lauper.
11 – Your favourite place to write songs is…
12 – If you weren’t an artist, you’d probably be…
A mime or a cowboy.
I get drafted to the NFL.
14 – In a few years, you want to be…
Recording with Rick Rubin in Malibu.
15 – What are you doing for the rest of the day?
Auditioning for the NFL. My tap number needs work.
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Exclusive Interview: Steven Jones On Lockdown & Writing “Shedding My Skin”
Steven Jones‘ recent release “Shedding My Skin” is heavily influenced by swirling synths and drum machines. The outcome of cutting-edge Synthpop with the vintage-esque aesthetic is what makes his music so special. What’s more, the spread of COVID-19 accompanied by large lockdown periods become the inspiration for his latest lyrics. Scroll down and learn more about this interesting song.
1 – When it comes to your music, what three words best describe it?
Dystopian Analog Beauty.
2 – How have you been keeping yourself entertained this lockdown?
I’ve continued to practice yoga on a daily basis. I’ve done more walking in the park than ever before. I’ve made a special project of carefully listening to the back catalogues of my favourite artists. I’ve watched lots of movies and read a pile of books. Lockdown has given me a time to experiment with video, take moody photos, and pen obscure apocalyptic lyrics.
3 – I’m loving the vibes of your new EP, “Shedding My Skin”, what’s the inspiration behind this material?
“Shedding My Skin” is a lockdown anthem. I suspect a lot of artists will have been inspired by the deep strangeness of the world’s response to COVID-19. This EP is our response. The starting point was Kevin O’Dowd’s claustrophobic lyrics. Using these as a foundation, I created a basic demo I tended to reflect the dislocation and fear of the quarantined mind. I envisaged a skeletal soundscape out of which a voice intones images of despair and hope. Once this was achieved, Logan added his cinematic electronics and sleek production. The dub mix, “New Skin” purifies the emotion of the isolated spirit of lockdown into sheer atmospherics. A wordless cry from behind a closed door.
4 – How much time did you work for this EP?
One of the most interesting aspects of lockdown was a sense of timelessness. It’s easy to spend hours recording and experimenting. I suppose I worked on the demo for a few days before Logan got busy with it at Sky Studios. It was a relatively speedy process.
5 – I’m curious about your creative process, what comes first lyrics or sound?
The songwriting process usually begins with sound. A basic demo provides an atmosphere or emotional cue from which the lyrics arise. I usually start by improvising a vocal on the track, singing whatever comes into my head. So often the lyrics come right out of my subconscious. After several improvised takes I’ll begin to feel a structure appearing. Then I’ll begin to edit the lyrics. When there is something the feels like a song, I’ll send the stems Logan who will make suggestions, play in new melodies and add dynamics. We discuss ways to refine the atmosphere or take it in unexpected directions.
6 – Do you have a specific writing technique for the lyrics?
It starts with improvisation around themes that currently preoccupy me. I take inspiration from novels, films, art, overheard conversations, dreams. Sometimes I’ll draw from my own experience and encode this into the song. Many lyrics arise spontaneously in response to the mood of the track. Sometimes we have a song title which guides the overall content of a lyric. I have a very language-based thought process so I can easily generate imagery and curious sentences.
We can appreciate both as warm and icy sounds soundscapes, but I know Logan likes to focus on vintage hardware, that was used to create the synth soundscapes for the final Visage albums recorded before Steve Strange died.
Live performance is exciting and it’s an amazing feeling to sing one’s own songs but I prefer recording. I find it immensity fulfilling to write and record songs and then allow them to live in the world. I feel it’s like capturing time. I think my love of recording has its roots in my life-long passion for records! I’ve always preferred listening to an album than going to a performance. Gigs are cool but nothing beats immersion in the self-contained sonic world of a great album!
8 – Is your music only suitable for nostalgic lovers of the 80s or Synthwave fans?
I suspect that a lot of people view us as a Synthwave duo arising from a scene based in nostalgia. And while it’s true that our musical DNA can be traced back to the electronics of the early 80s, I’m keen that our records are creatively vital and future-thinking. Our music is a direct reaction to modernity and not a flight from it and we actively reject pastiche!
Some of our songs draw upon the world around us. “Corrupt State”, “Deluxe Tourist” and “Supply Chains” look at issues of corruption, “Syria” is an ode to the ongoing war and “For Europe” laments our departure from the EU.
My current reading list consists of the surreal poetics of William Burroughs. I recommend “Cities Of The Red Night” for a journey into the bizarre. And for light relief, “An Officer And A Spy” by Robert Harris.
“The English Patient” for doomed romance. Polanski’s “Macbeth” for windswept tragedy and “Network” for a cynical take on the media!
10 – Lastly, if you could design your dream music video right now, what would it look like?
A virtual swim through the cosmos, a shimmering journey from darkness to light…
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Tyler Okun Reveals What His Music Is All About + New EP ‘The City’ In Interview
Music has been the focal point of Tyler Okun’s entire life. He has the ability to easily convey his feelings through relatable songs that touch your soul. Not for nothing, his debut EP, ‘The City’ is full sincere emotions and contemporary melodies for your pleasure. Tyler wishes to impact the world positively and bring smiles to those who listen. Learn more about his amazing music below.
1 — Who are your musical influences?
Growing up, I was exposed to many artists from the 70s/80s, so I’d consider that my backbone for influences. But since then I’ve grown to really appreciate Pop and Alternative. I’d say my main influences are Green Day, The 1975, Troye Sivan, and Tom Misch.
2 — Why do you have a special interest in guitar-based music?
I was introduced to the guitar when I was five years old when my aunt bought me a beginner acoustic guitar. Naturally, I was drawn to music that I could play along with. Some of my earliest memories include strumming along to concerts playing on my TV.
3 — How would you describe your signature sound?
I play into what people would consider “Pop” sensibilities. However, with each song, I try to find a cool way to integrate other genres into that Pop sound. Take “Basic” for example, I had this really awesome baseline in my head, as well as a really catchy hook, and then I and my producer decided it would be crazy to add giant 80’s style synths and a trap-style drum pattern. And it just worked.
Absolutely. I find songwriting to be a very cathartic experience because there’s been huge highs and lows in my life. Putting it to lyrics is my way of communicating it to everyone so that I can get the gratification of knowing at least one person who hears this song has gone through the experiences I write about and can relate.
5 — What subjects do you prefer to explore in your songs?
Writing about love was my way of writing songs. The first song I’ve ever written “Serenity” was my way of explaining such a powerful emotion. Since then though, my songs have evolved into territories like empowerment, dancing, heartbreak, and even depression and anxiety.
6 — You just released a new EP, titled ‘The City’. What does this project mean to you?
For the majority of my time actually making music, I was writing acoustic songs and never even considered what I’d do with a larger sound. That all changed when I started working with my producer, Matt “Malto” Loss. We spent so many hours just trying anything possible in the makeshift studio in his basement. This EP is displaying my new sound that I was able to find while recording there. This sound feels more like me, more fun, and just plain awesome.
7 — Which is your favorite song from this material? Why?
I’d have to say the title track “The City”. It’s just so fun, and it just gives me so much energy every time I hear it. I was able to really shred my guitar and pull off some really high notes with my vocals. I think it’s the perfect way to get people ready for what’s to come with the rest of the EP.
8 — Are you open to remixes? If so, what are the requirements?
Definitely! Requirements would be just to have fun with it and present my song in a new, interesting way! Side-note, I really dig electronic remixes so I’d be really curious to see what an electronic specific artist could do with my stuff.
Playing my music wherever I can, and spreading positivity with it, I think the world really needs that right now. And who knows? I’ve got a lot of plans for more future releases!
10 — Finally, what’s the best career advice you’ve received as an artist?
Honestly, I’d have to go with my Dad’s classic phrase “Knock ‘em dead!”, his way of saying to just give it all I’ve got. He has always believed in me from day one. From the first time I performed anywhere till now, my Dad would always say that phrase to me before I’d start anything. So in everything I do, I go into it hearing him saying that to me, and I know I’ve given it my all.
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Lailien Talks His Gigi D’Agostino Cover + More In Interview
Meet the magician of music, Brad Shubat aka Lailen. Carried away by his great creativity and imagination, he gives new life to Gigi D’Agostino’s classic “Fly With You”, which is featured in the crime thriller Uncut Gems. Known for experimenting with electronic music, pop, and rock, you can learn more about how he works and much more in this exclusive interview.
1 – First of all, what made you want to do a cover of one the greatest hits of Gigi D’Agostino?
In the words of my collaborator and co-singer Ruby Perl, the song is divine! We both love the song, including its many other formal iterations of covers and remixes. We had just finished our version when I heard it play at the end of the new Safdie brothers’ film Uncut Gems, soundtracked by Oneohtrix Point Never, so I knew the stars had aligned for sure!
2 – What’s the new perspective you want to bring with this cover?
Every artist brings their own peculiar idiosyncrasies to a cover if they’re doing something interesting and I felt that the generosity of this tune was still far from exhausted in its sonic possibilities. Primarily we wanted to take it into new stratospheres of playfulness and jubilation.
3 – Which is your favorite lyrics’ line on “Fly With You”? Why?
“I still believe in your eyes, I just don’t care what you’ve done in your life”
It’s so powerfully eloquent. A perfect encapsulation of the prospect of innocence at religious depths of profundity expressed through common phenomenological beauty, the eyes being windows into the soul.
4 – What do you use in your studio when producing these types of tunes?
Lots of various equipment and software, including Ableton, Logic Pro, Omnisphere, Native Instruments, UAD plugins, Waves plugin package, a Neumann M147 mic, Gibson Les Paul guitar, Music Man sub-bass and more!
I do think it’s very important. Humans exude technological extensions of our imaginations and studio equipment provides a basis for catalyzing new possibilities. I will say though that one can have all the most expensive equipment in the world and still not make anything interesting if the creative spirit isn’t properly attuned.
6 – Besides producing the catchy beats, did you also record your own vocals for this track?
Yes, and here I have to give a massive shoutout to producer and all-around brilliant musician Mark Zubek who was absolutely crucial and essential on this track. All my songs are recorded with him at his Zedd Records studio in Toronto.
7 – Who is the singer that collaborates with you on this cover?
Ruby Perl. She is such a beautiful soul and was the driving force behind this particular song’s creation. This is actually her first professionally recorded tune so I’m super psyched by her performance and what’s to come next!
8 – Are you planning to release more covers or remixes in the near future? If so, tell us more.
Not currently, but I do have a lot of original material coming out soon, including several videos!
9 – Where do you usually find inspiration?
There’s a poet friend of mine named Michael Boughn who told me he believes in perspiration over inspiration. That always stuck — putting in a consistent work effort regardless of the day to day fluxes of motivation. Thankfully though I do find myself inspired most of the time regardless, especially by what other musicians are making, the poetry I read, and the love of creating in general.
10 – Do you believe the electronic music scene will evolve after the pandemic ends?
The pandemic will definitely have an impact, but not in some homogenized, congealed manner. I expect an ongoing proliferation of diverse and nuanced artistic practices to reverberate and emerge. Life constraints have always informed and propelled creative agency, sometimes in paradoxically nurturing ways, so if anything I hope it brings further compassion, respect, and appreciation to artists in general which in turn blossoms into magnificent new works.
CONNECT WITH LAILIEN NOW!
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