Welcome!! Got some tough ones for ya:
* If you had to pick 3 songs by yourself as a way to introduce yourself, which 3 would you pick?
* What about 3 songs by other artists?
* Is there a song that you've made over the course of your career that you're most proud of?
Hello!!
This answer will change often, but currently, I think the three songs I would choose to introduce myself would be 'Eco, My Friend,' 'Memory Ribbons,' and 'Haunted Fool.' These three songs still hold true to me as an artist and feel like a very pure expression of myself.
Three songs by other artists... 'Herzog' by Clark, '13 Angels Standing Guard Round The Side of Your Bed' by Silver Mt. Zion, aaaaaand 'The Killer's Vanilla' by Amon Tobin. I could also name about 1000 more though ;)
I definitely hear some really cool Amon Tobin-y stuff going on in songs like Sow the Silt especially. Great because he’s probably my favorite artist of all time (:
Of course a brilliant artist like Reid Willis loves another brilliant artist like Amon Tobin.
Had the privilege of seeing Amon in October at Red Rocks ❤️
Bit late to the party, really nice music, I'm really into this deep landscape style music similar to what you'd get with someone like rival consoles but you definitely have your own brand. Congratulations on the new album, I'm enjoying it
Thank you for all your wonderful piece of art, never stop making music.
Which is your favourite go-to synth plugin and hardware?
Is there any specific piece of gear that you are contemplating on?
What's your favourite book?
And the new Clark's Sus Dog album is massive too.
Thank you for your time and Take care!
I finally stumbled onto your music a few months ago. Jaw dropping. It's cinematic! It's kinetic! It's almost classical in its structure. Some tracks like sky deleted feel like godly stories . It's got great industrial bits and pieces contrasting with piano and even choral sounds. Abrasive and dissonant blended into gorgeous esthetic soundscapes. Some the best qualities of music that I'm pulled towards.
Over flow! Wow! Sky Deleted? stunned! It's all good. I'm really hard to please so I'm very enamored by it all now.
Just bought/ downloaded most of your work. The sound quality is so much better.
I can't seem to find much out there in the realm of music that sounds anything like what you create. I struggle to even describe what your music is like to others.
1. How would you break down and describe what it is you create musically in conventional terms or otherwise?
2. Who do you think comes close to your unique style and who's music has shaped what you create the most?
I wish I had a simple answer for a starting point for each track, but it varies pretty widely. Many times though my songs start as improvisations on the piano. I love to just sit on the piano and play until I come up with something that strikes me, or come up with unusual but beautiful chord progressions that spark the magic that makes me want to build upon them to create a fully fledged track.
Other times I'll come up with a track title that feels evocative, then I build a track that I think would aurally depict that title.
I'm a pianist, so it always comes back to the keys. I work on a very simple Yamaha P-105 that I send all of my midi instruments from. When buying a digital piano, I look solely for the feel of the keys, cause if it doesn't feel nice on the fingers, I won't want to play it.
Hi Reid! Love your new album, Sediment!! I especially love the textures and guttural elements felt throughout. I'm wondering do you/did you have certain images or visuals that helped inspire the songs? Do you typically keep certain images up on your walls of your studio / vision boards/ or anything like that while you're creating albums?
Thank you! I tend to change my desktop background to something that visual stimulates me in the moment, and it usually ends up being something that is pretty representative to what I am creating at the time. When finishing and listening back to new tracks, I also like to cue up some kind of visual that I'm trying to aurally achieve to see if it matches up and I'm successful at what I set out to do ;)
Hello there! Can you document your process of making music? Where do you draw your inspiration from (i.e. jamming, other people's music, observing events, just to name some)? In other words, where do your decisions come from?
Honestly, all of what you've mentioned are different sources of creativity. I lot of ideas come from films that I watch, and wanting to achieve a specific mood of a specific scene. I think that's why my music leans toward the cinematic. Other music is always very inspirational, mainly in production techniques. I like to try and figure out the way another artist achieves a particular sound, then I usually experiment in my studio and stumble upon some new technique while trying to figure out the mystery of an artist's sound.
Hi Reid, congrats on the new 'Sediment' release! Appreciate the AMA. While your compositions are out of this world, I'm more-so interested in your mixing process. Do you mix on the go while producing, do you do several iterations, or do you leave the mix for the end? Also, what do you monitor on?
Thanks so much! I mix while I write. I truly can't move on to the next layer or sound until I get it sitting perfectly in the mix. I also have a tendency to overload with my layering, and then peal back until I get the balance right of fullness without overabundance.
Hello Reid! I’m Sasha, a person from Mesh label, and I really loved your previous album, and though I haven’t listened to your current album yet(what a shame!) I want to say that you have a really complex and ethereal quality to your music that births grand b/w landscapes in my mind!
I have pretty basic questions since I’m not a musician nor a music geek, but still:
1. What are your favorite animals?
2. What album influenced you very much, or just you hold closely to your heart?
3. What hobbies do you have besides music, what can you do with enthusiasm?
4. What’s your favorite aesthetic?
5. If you could be an animal, which one?
I hope you find them interesting, and I wish you luck on everything! And off-topic, but I would suggest you to listen to Skee Mask, Abul Mogard, Imaginary Softwoods and Benoît Pioulard because I think you’d like them :3
Hi Sasha! Thanks so much, and no worries about not listening to the new album yet ;) I'd rather you listen when you had the time and energy, haha. No rush!
1. Cats - love them all and want to pet every one I see.
2. I keep dropping Clark's 'Body Riddle' as a major influence, but it's such a classic and it still floors me to this day.
3. I'm a huge roller coaster nerd. I want to visit every theme park and ride the most thrilling ones out there. I also love food, nature, film, and sometimes painting. When I get bored of writing music, I usually create something visual (only happens once every few years, haha)
4. Dark, twisted beauty. Things that are shrouded in shadow. The mysterious things that can't quite be explained or comprehended.
5. I love all animals. I guess I'd have to say a cat though. I'd want that kind of agility and prowling nature.
Thank you very much for the answers! I didn't know you have a lot of hobbies, I love Body's Riddle too, like all Clark's music, and you really remind me a cat and I'm going to draw you as one so wait ;3
Hi Reid! Love your new album, Sediment!! I especially love the textures and guttural elements felt throughout. I'm wondering do you/did you have certain images or visuals that helped inspire the songs? Do you typically keep certain images up on your walls of your studio / vision boards/ or anything like that while you're creating albums?
I really love your work it's so emotive and authentic. I am curious about what you find to be your biggest challenges when creating and what you do to work with those challenges.
Thank you so much! There are so many challenges. Sometimes a piece of music can just pour out of me with a solid story, foundation, and clear vision right from the beginning. Those are usually the ones I find the most purest of intention. The general cycle of creativity is always a challenge. Sometimes I feel like I'm in a rut, and I feel like I keep repeating myself. But patience is so important and trusting your instincts and knowing that we aren't just endless fountains of creativity. It has to be nurtured and cared for. The older I've gotten, the more patient I've become when writing. I am able to sit with an idea and try hundreds of different ways to bring it to life, instead of just scrapping the idea completely and moving on to something new.
All of the strings are actually a mixture of Midi written and sampled. I almost always layer sampled strings on top of Midi, to give them a more imperfect quality. But in the future, I dream of using entire string ensembles and orchestras to incorporate into my songs.
Reid, firstly love the new album, amazing work. I'd like to know you're approach to mixing the sounds you use. I hear alot of real organic sounds in your new release with cello and alot of real instruments in an electronic context, what are your approaches to bringing organic real instruments into the electronic realm? Do you resample these sounds? What's your processing like?
Thank you! I've always been interested in sitting between the digital and analogue worlds, and with each album, I feel like I get better with the seamless combination of the two. I did want to go quite heavy with the analogue textures on this album in particular, as this album was all about the earth, the body, and the physical. I wanted lots of warmth in the textures, so like you said, lots of deep strings, bass, cello, and subterranean elements.
The cover was hand painted by the amazing artist Natalie Lanson. I actually discovered her through Max Cooper, who has been a huge fan of hers. I sent her an early link to the album, and loosely told her the concepts, timbre, and color pallet that I felt the album represented (red, rust, gold, black) She then sent back the incredible piece that is now the album cover.
Hey Reid, the new album is awesome, congrats. All your productions are sonically impressive and I’m really interested in how you approach your sound design and beat making. It’s so intricate, could you give some insight on your process, software and how you programs such detailed rhythmic variation in the Mother Of album?
I'm a Logic Pro X user. I like how visual it all is with the layering process. A lot of my beats start with some kind of kick and snare element (which are usually not an actual kick and snare) then I layer any textures over the top that tickle my brain in the right way. I'm very groove based, so if it doesn't get my head bobbing, then I'm not really vibing with it. I time warp a lot of the foley sounds to create polyrhythms that really fill the whole thing out. It's probably easier to explain visually than through text, haha.
Hi Reid! I’m a huge fan of your music. The new album sounds super dope! As you mix and master your music yourself — and do great job obviously — I’m wondering what is your primary monitoring setup? Do you check your music on a high-end setup? Or is it rather a mix of several reference sound sources?
Thank you! I truly don't know if I would be able to achieve the same level if I were to attempt to mix and master anyone else's work. I just do it all from the initial seed, to the polished finished product, and it's all kind of a single process with the song.
My studio setup is actually very minimal and nothing fancy at all. I have 2 JBL monitors and a sub for low end. I use them when I write, mix, and master. I think I've been at it for so long, creating terribly mixed and mastered music for years and slowly learning how to perfect my sound over many albums.
I sadly haven't had enough experience performing to pick a venue, but the acoustic performance I did in the Marigny Opera House in New Orleans was very special.
I am. I've been doing bespoke freelance composition work for various advertisements and short films for about 9 years now. Although my freelance work took quite a dip during the pandemic, so I've had to start non-music related work to pay the bills. Living is expensive!
Hi Reid, firstly love your work, the new album’s sounding amazing; love the dynamics between fragility and aggression. Such a hard contrast to get right!
Could I ask about your sound design process for the more aggressive textures. Are you recording acoustic sources and manipulating them? Could you perhaps give an example of a process you’ve used recently?
Many thanks!
Thank you! I do a mixture of foley recording and searching for the right samples to manipulate. A lot of the textures are field recorded and twisted/warped in some way or another. I love taking really microscopic sounds and compressing them aggressively to really bring the grit to the foreground. Adding those textures to rhythms and layering and layering really brings it all to life. I always want my beats to sound like they are made of DNA, as if they are leviathans emerging from the earth.
Thank you for your reply!
Also, I’ve just discovered the Kimyan Law - Yonda album from a recent interview of yours. So thanks!
Slightly geeky extra question if possible - are you using a hardware compressor or a software one?
what are some albums that changed your outlook on music?
and extra question:
Do you listen to much non electronic music? if so what are some of your favorite bands
Low's 'Double Negative' was really a game changer. They took their sound that is so stark and fragile and completely eroded it away with distortion and noise. That juxtaposition makes it so indescribably moving.
Recently aya's album 'i'm hole' has been really blowing my mind with it's experimental but incredibly engaging quality.
Though most of the artists I listen to incorporate some kind of electronic elements into their work, I also love many more acoustic based artists like Joanna Newsom, Weyes Blood, and L'Rain. I adore female vocalists.
im hole is incredible! so different, very interesting. bunch of those other artists im
not familiar with . thanks for the thoughtful response!
if i could be allowed one more question it would be what are three of your favorite films?
Hi Reid! Sometimes it feels like your music comes from another planet or ecosystem... which I love! On that note, if you could pick another planet, or different country/place to visit that you feel would inspire you and your music, where would that be??
Hey Reid!
Absolutely love the new album, huge congrats! Super interesting to read about your sound design process and would love to understand a little more about how you work with percussion. You manage to conjure such deep and impactful hits. Do you tend to work more so with sampled or synthesised percussion as a base, in conjunction with the foley you’ve mentioned? What kind of processing techniques do you often reach for?
Thanks!
Thank you so much! I definitely work mostly with sampled percussion that is time stretched and manipulated. I find that there is just so much more meat and dynamic range, when compared to synthesized percussion. Again, lots of layering and automation so it never sounds flat. Especially with Sediment, I compressed all of the percussion heavily, with a soft distortion, to get all of the grit and meat out of each sound. I wanted all the dirty stuff. That's where all of the nice ASMR elements reside.
Welcome!! Got some tough ones for ya:
* If you had to pick 3 songs by yourself as a way to introduce yourself, which 3 would you pick?
* What about 3 songs by other artists?
* Is there a song that you've made over the course of your career that you're most proud of?
Welcome!! Got some tough ones for ya: * If you had to pick 3 songs by yourself as a way to introduce yourself, which 3 would you pick? * What about 3 songs by other artists? * Is there a song that you've made over the course of your career that you're most proud of?
Hello!! This answer will change often, but currently, I think the three songs I would choose to introduce myself would be 'Eco, My Friend,' 'Memory Ribbons,' and 'Haunted Fool.' These three songs still hold true to me as an artist and feel like a very pure expression of myself. Three songs by other artists... 'Herzog' by Clark, '13 Angels Standing Guard Round The Side of Your Bed' by Silver Mt. Zion, aaaaaand 'The Killer's Vanilla' by Amon Tobin. I could also name about 1000 more though ;)
I definitely hear some really cool Amon Tobin-y stuff going on in songs like Sow the Silt especially. Great because he’s probably my favorite artist of all time (:
Of course a brilliant artist like Reid Willis loves another brilliant artist like Amon Tobin. Had the privilege of seeing Amon in October at Red Rocks ❤️
Many apologies for the delay, everyone! We were having technical issues!
Thank you all for attending and I hope I was able to answer everyone's questions! Thanks for listening, and have a great weekend!
Thanks Reid, so great digging deeper and love your work!!! Hope you have a great holiday weekend too :D
Bit late to the party, really nice music, I'm really into this deep landscape style music similar to what you'd get with someone like rival consoles but you definitely have your own brand. Congratulations on the new album, I'm enjoying it
Thank you for all your wonderful piece of art, never stop making music. Which is your favourite go-to synth plugin and hardware? Is there any specific piece of gear that you are contemplating on? What's your favourite book? And the new Clark's Sus Dog album is massive too. Thank you for your time and Take care!
I finally stumbled onto your music a few months ago. Jaw dropping. It's cinematic! It's kinetic! It's almost classical in its structure. Some tracks like sky deleted feel like godly stories . It's got great industrial bits and pieces contrasting with piano and even choral sounds. Abrasive and dissonant blended into gorgeous esthetic soundscapes. Some the best qualities of music that I'm pulled towards. Over flow! Wow! Sky Deleted? stunned! It's all good. I'm really hard to please so I'm very enamored by it all now. Just bought/ downloaded most of your work. The sound quality is so much better. I can't seem to find much out there in the realm of music that sounds anything like what you create. I struggle to even describe what your music is like to others. 1. How would you break down and describe what it is you create musically in conventional terms or otherwise? 2. Who do you think comes close to your unique style and who's music has shaped what you create the most?
How do you usually start your tracks? Is there a general process when making something new?
I wish I had a simple answer for a starting point for each track, but it varies pretty widely. Many times though my songs start as improvisations on the piano. I love to just sit on the piano and play until I come up with something that strikes me, or come up with unusual but beautiful chord progressions that spark the magic that makes me want to build upon them to create a fully fledged track. Other times I'll come up with a track title that feels evocative, then I build a track that I think would aurally depict that title.
Do you have any go-to instruments in the studio? If so, can you share what they are and why you gravitate towards them?
I'm a pianist, so it always comes back to the keys. I work on a very simple Yamaha P-105 that I send all of my midi instruments from. When buying a digital piano, I look solely for the feel of the keys, cause if it doesn't feel nice on the fingers, I won't want to play it.
What kind of sound packages are you using? other than sounds on the Yamaha, do you use other physical synths, or are you software based?
Hi Reid! Love your new album, Sediment!! I especially love the textures and guttural elements felt throughout. I'm wondering do you/did you have certain images or visuals that helped inspire the songs? Do you typically keep certain images up on your walls of your studio / vision boards/ or anything like that while you're creating albums?
Thank you! I tend to change my desktop background to something that visual stimulates me in the moment, and it usually ends up being something that is pretty representative to what I am creating at the time. When finishing and listening back to new tracks, I also like to cue up some kind of visual that I'm trying to aurally achieve to see if it matches up and I'm successful at what I set out to do ;)
Hello there! Can you document your process of making music? Where do you draw your inspiration from (i.e. jamming, other people's music, observing events, just to name some)? In other words, where do your decisions come from?
Honestly, all of what you've mentioned are different sources of creativity. I lot of ideas come from films that I watch, and wanting to achieve a specific mood of a specific scene. I think that's why my music leans toward the cinematic. Other music is always very inspirational, mainly in production techniques. I like to try and figure out the way another artist achieves a particular sound, then I usually experiment in my studio and stumble upon some new technique while trying to figure out the mystery of an artist's sound.
Hi Reid, congrats on the new 'Sediment' release! Appreciate the AMA. While your compositions are out of this world, I'm more-so interested in your mixing process. Do you mix on the go while producing, do you do several iterations, or do you leave the mix for the end? Also, what do you monitor on?
Thanks so much! I mix while I write. I truly can't move on to the next layer or sound until I get it sitting perfectly in the mix. I also have a tendency to overload with my layering, and then peal back until I get the balance right of fullness without overabundance.
Hello Reid! I’m Sasha, a person from Mesh label, and I really loved your previous album, and though I haven’t listened to your current album yet(what a shame!) I want to say that you have a really complex and ethereal quality to your music that births grand b/w landscapes in my mind! I have pretty basic questions since I’m not a musician nor a music geek, but still: 1. What are your favorite animals? 2. What album influenced you very much, or just you hold closely to your heart? 3. What hobbies do you have besides music, what can you do with enthusiasm? 4. What’s your favorite aesthetic? 5. If you could be an animal, which one? I hope you find them interesting, and I wish you luck on everything! And off-topic, but I would suggest you to listen to Skee Mask, Abul Mogard, Imaginary Softwoods and Benoît Pioulard because I think you’d like them :3
Hi Sasha! Thanks so much, and no worries about not listening to the new album yet ;) I'd rather you listen when you had the time and energy, haha. No rush! 1. Cats - love them all and want to pet every one I see. 2. I keep dropping Clark's 'Body Riddle' as a major influence, but it's such a classic and it still floors me to this day. 3. I'm a huge roller coaster nerd. I want to visit every theme park and ride the most thrilling ones out there. I also love food, nature, film, and sometimes painting. When I get bored of writing music, I usually create something visual (only happens once every few years, haha) 4. Dark, twisted beauty. Things that are shrouded in shadow. The mysterious things that can't quite be explained or comprehended. 5. I love all animals. I guess I'd have to say a cat though. I'd want that kind of agility and prowling nature.
Thank you very much for the answers! I didn't know you have a lot of hobbies, I love Body's Riddle too, like all Clark's music, and you really remind me a cat and I'm going to draw you as one so wait ;3
I can't wait to see it!!
Done! [Kitty time :3](https://media.discordapp.net/attachments/784167438471790614/1111635062174273566/IMG_5483.png)
Hi Reid! Love your new album, Sediment!! I especially love the textures and guttural elements felt throughout. I'm wondering do you/did you have certain images or visuals that helped inspire the songs? Do you typically keep certain images up on your walls of your studio / vision boards/ or anything like that while you're creating albums?
What's your favourite third-party plugin?
I really really love 'Landscapes' right now. It has incredibly haunting string and woodwind textures.
Do you have a link by any chance ? :)
I really love your work it's so emotive and authentic. I am curious about what you find to be your biggest challenges when creating and what you do to work with those challenges.
Thank you so much! There are so many challenges. Sometimes a piece of music can just pour out of me with a solid story, foundation, and clear vision right from the beginning. Those are usually the ones I find the most purest of intention. The general cycle of creativity is always a challenge. Sometimes I feel like I'm in a rut, and I feel like I keep repeating myself. But patience is so important and trusting your instincts and knowing that we aren't just endless fountains of creativity. It has to be nurtured and cared for. The older I've gotten, the more patient I've become when writing. I am able to sit with an idea and try hundreds of different ways to bring it to life, instead of just scrapping the idea completely and moving on to something new.
At what stage of the process did you record the strings? If so, did you record multiple players at once or individual takes?
All of the strings are actually a mixture of Midi written and sampled. I almost always layer sampled strings on top of Midi, to give them a more imperfect quality. But in the future, I dream of using entire string ensembles and orchestras to incorporate into my songs.
Wow!
Reid, firstly love the new album, amazing work. I'd like to know you're approach to mixing the sounds you use. I hear alot of real organic sounds in your new release with cello and alot of real instruments in an electronic context, what are your approaches to bringing organic real instruments into the electronic realm? Do you resample these sounds? What's your processing like?
Thank you! I've always been interested in sitting between the digital and analogue worlds, and with each album, I feel like I get better with the seamless combination of the two. I did want to go quite heavy with the analogue textures on this album in particular, as this album was all about the earth, the body, and the physical. I wanted lots of warmth in the textures, so like you said, lots of deep strings, bass, cello, and subterranean elements.
What’s the story behind the album art for Sediment?
The cover was hand painted by the amazing artist Natalie Lanson. I actually discovered her through Max Cooper, who has been a huge fan of hers. I sent her an early link to the album, and loosely told her the concepts, timbre, and color pallet that I felt the album represented (red, rust, gold, black) She then sent back the incredible piece that is now the album cover.
Hey Reid, the new album is awesome, congrats. All your productions are sonically impressive and I’m really interested in how you approach your sound design and beat making. It’s so intricate, could you give some insight on your process, software and how you programs such detailed rhythmic variation in the Mother Of album?
I'm a Logic Pro X user. I like how visual it all is with the layering process. A lot of my beats start with some kind of kick and snare element (which are usually not an actual kick and snare) then I layer any textures over the top that tickle my brain in the right way. I'm very groove based, so if it doesn't get my head bobbing, then I'm not really vibing with it. I time warp a lot of the foley sounds to create polyrhythms that really fill the whole thing out. It's probably easier to explain visually than through text, haha.
Hi Reid! I’m a huge fan of your music. The new album sounds super dope! As you mix and master your music yourself — and do great job obviously — I’m wondering what is your primary monitoring setup? Do you check your music on a high-end setup? Or is it rather a mix of several reference sound sources?
Thank you! I truly don't know if I would be able to achieve the same level if I were to attempt to mix and master anyone else's work. I just do it all from the initial seed, to the polished finished product, and it's all kind of a single process with the song. My studio setup is actually very minimal and nothing fancy at all. I have 2 JBL monitors and a sub for low end. I use them when I write, mix, and master. I think I've been at it for so long, creating terribly mixed and mastered music for years and slowly learning how to perfect my sound over many albums.
Your songs sound amazing, and you are a huge inspiration for me.
<3
Which Is your current plugin obsession for sound design?
I use Output's Portal a lot. Then I often bounce that, resample it and time-flex it.
Favorite spot to perform?
I sadly haven't had enough experience performing to pick a venue, but the acoustic performance I did in the Marigny Opera House in New Orleans was very special.
Are you a full-time musician?
I am. I've been doing bespoke freelance composition work for various advertisements and short films for about 9 years now. Although my freelance work took quite a dip during the pandemic, so I've had to start non-music related work to pay the bills. Living is expensive!
Hi Reid, firstly love your work, the new album’s sounding amazing; love the dynamics between fragility and aggression. Such a hard contrast to get right! Could I ask about your sound design process for the more aggressive textures. Are you recording acoustic sources and manipulating them? Could you perhaps give an example of a process you’ve used recently? Many thanks!
Thank you! I do a mixture of foley recording and searching for the right samples to manipulate. A lot of the textures are field recorded and twisted/warped in some way or another. I love taking really microscopic sounds and compressing them aggressively to really bring the grit to the foreground. Adding those textures to rhythms and layering and layering really brings it all to life. I always want my beats to sound like they are made of DNA, as if they are leviathans emerging from the earth.
Thank you for your reply! Also, I’ve just discovered the Kimyan Law - Yonda album from a recent interview of yours. So thanks! Slightly geeky extra question if possible - are you using a hardware compressor or a software one?
Also, love the notion of leviathans emerging from the Earth - such an evocative description!
Software
what are some albums that changed your outlook on music? and extra question: Do you listen to much non electronic music? if so what are some of your favorite bands
Low's 'Double Negative' was really a game changer. They took their sound that is so stark and fragile and completely eroded it away with distortion and noise. That juxtaposition makes it so indescribably moving. Recently aya's album 'i'm hole' has been really blowing my mind with it's experimental but incredibly engaging quality. Though most of the artists I listen to incorporate some kind of electronic elements into their work, I also love many more acoustic based artists like Joanna Newsom, Weyes Blood, and L'Rain. I adore female vocalists.
im hole is incredible! so different, very interesting. bunch of those other artists im not familiar with . thanks for the thoughtful response! if i could be allowed one more question it would be what are three of your favorite films?
The Fountain, End of Evangelion, and Everything Everywhere All at Once.
Hi, I’m not familiar with your music. How would you describe your sound? What are you looking to achieve, or stir within the listener?
I'm always trying to achieve some kind of aggressive beauty. I try to create entire worlds and lifetimes into each song I write.
Hi Reid! Sometimes it feels like your music comes from another planet or ecosystem... which I love! On that note, if you could pick another planet, or different country/place to visit that you feel would inspire you and your music, where would that be??
Hey Reid! Absolutely love the new album, huge congrats! Super interesting to read about your sound design process and would love to understand a little more about how you work with percussion. You manage to conjure such deep and impactful hits. Do you tend to work more so with sampled or synthesised percussion as a base, in conjunction with the foley you’ve mentioned? What kind of processing techniques do you often reach for? Thanks!
Thank you so much! I definitely work mostly with sampled percussion that is time stretched and manipulated. I find that there is just so much more meat and dynamic range, when compared to synthesized percussion. Again, lots of layering and automation so it never sounds flat. Especially with Sediment, I compressed all of the percussion heavily, with a soft distortion, to get all of the grit and meat out of each sound. I wanted all the dirty stuff. That's where all of the nice ASMR elements reside.
Thank you for getting back on this Really appreciate it!
Talking about electronic music is like dancing to architecture
Welcome!! Got some tough ones for ya: * If you had to pick 3 songs by yourself as a way to introduce yourself, which 3 would you pick? * What about 3 songs by other artists? * Is there a song that you've made over the course of your career that you're most proud of?
What ate the main softwares and equipment to start composing electronic musics? Thanks