Igloo: Could you provide us with a kit/gear list? Do you find that this setup provides you with the necessary flexibility? Pros/Cons:
At the moment I am using a 450mhz p2 128mb ram, awe32 sound card, and tons of audio wares. It’s been a bit of a constraint, due to the limitations of most software. I have been using several different apps to render different sounds, and the process of putting them all together cohesively becomes rather tedious and time consuming. Not that it wasn’t before but I’m getting old and lazy and like everyone else I have less time than the day before. Eventually though, I’d like to have/find a more all in one solution, instead of jumping between six or seven different app’s. I guess I’ll have to learn how to code (or find some nice people) in order to resolve that situation. The positive aspect of being all virtual studio is that it allows me to nit pick in a more diverse environment. Sound not just in terms of linear transitions or notes created by midi triggers and gear, but more a fluid and slippery control environment. For example, if you have a synth, (insert industry standard here) the architecture is static; it will always produce the same sounds. Whereas, software/computer technology are always changing and constantly evolving.
Igloo: Do you think gear in a traditional sense is obsolete?
In the face of some of the newer music technology, “keyboards” are totally outdated. My major argument against external gear is this: Can your three thousand dollar keyboard send email, print out the 100 page manual to Reaktor, do IRC and make music at the same time? No. Midi gear should serve one purpose and one purpose only, controlling software. The extent of its capabilities should be no more than a mouse with black and white keys.
Igloo: You have some very unusual song titles (Gum&Eggs, Peas in Olive Juice, etc.); Do they have any special meaning?
Most of the track titles come from little snippets of memory, conversations, and pet names for random people, etc. Titles are more of a peripheral memory device than an end user feature. Capsulation of memory in track titles brings faster recall, and deeper appreciation of said memory for me. Ideally, they would do the same for the people who listen. Sometime soon I plan on putting up a text/html part of Proemland that will be the readers digest versions of some of the stories.
Igloo: Do your tracks have a theme, or a context?
No. but the funny thing is that with Burn Plate No.1 (Hydrant) they seemed to be a little food obsessed. Which was not intentional. As a matter of fact I didn’t realize it until I read a review in Magic Feet when they sort of played on the food theme.
Igloo: What are you currently working on? Any Proem material to be released?
There is always Proem to be released! Making music is not something I can take a break from. When I’m not working. I’m in front of the computer, “working”.
Igloo: You recently played in NY as part of the Sin Festival. How was that experience, and is what you do live different from your studio work?
Sin Fest was in a word, awesome. I would do it again in a heartbeat. As for my live work vs. studio, in general, there is a huge gap between the two. I’m trying to close that gap more and more by using elements from studio stuff in the live sets; trying to improvise as much as possible… compose on the spot, etc. It’s a balancing act. I suppose it’s just my post rock industrial roots showing, but I feel the need to put on “a show” (as non militant electronic as that sounds) and not just play some music with some responsive visuals going in the background. There are tons of things I’d love to do live but just haven’t been in the right place to do them yet. And I stress the yet. If events start popping up across the country like Sin Fest, I would break arms and bust heads and drain my bank account to get there and play.
Igloo: Which electronic artists do you consider to put on a good live show?
Actually, I’ve seen squat as far as live performances go. The SIN festival was the most “live” electronic music I’ve ever seen.
Igloo: What type of tones do you find most exciting to work with?
Yikes! No small question there. All sound is exciting. Hums and ticks from my refrigerator, leaves falling on concrete, gas from a butane lighter.
Igloo: What is the electronic music scene like in Texas?
There’s an electronic scene in Texas? I had no idea…. Actually there is a disgustingly huge jungle scene. And we have more than a few somewhat major players in the techno world as well. But as far as the intelligent stuff goes, its here its just hiding, and most of it I’m not that into. Broadcast, tortoise, and trans am can sell out many a show in Austin, so that should count for something I suppose.
Igloo: Any new year’s resolutions?
I’d like to throw a few Ambient renegades this year. Maybe play more shows.
Igloo: What is an ambient renegade?
Cold weather. Hot coffee. And Selected Ambient Works 2 (Aphex Twin) coming from the woods of the Blair Witch. So, it’s much like a take on underground techno parties, but instead of banging techno or jungle, ambient would be center stage.
Igloo: Also any closing thoughts?
I think I’ll go ahead and blatanly plug myself. I’ve got an appearance on Aurora Various Artists compilation which is probably one of the best ambient comp’s I’ve heard in a long long time on Merck Records availible after the first of the year.
Upcoming Proem full length on a very busy Merck Records with a windows theme including sounds and maybe icons dependant upon how motivated i feel availible through password protected html on the Merck Site in theory they should both hit the streets about march. And sometime after that I’ll start working on maybe rolling out version 2.0 of the Proemland site with tons more goodies maybe a view vmu animations for the dreamcast enthusiasts
Oh yeah also, an appearance on the Marumari Remix CD on Darla Records. I have no idea when that will be released but it should be promising.
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Proem has an upcoming album coming in February on Merck Records.
