Milieu

I recently reviewed Scott Waddell’s music, and we’ve been emailing each other a little bit about what he does. He’s also worked with John Holowach, and is a good representation of the growing community of Creative Commons musicians out there.

How do you approach song writing and production?

I’m not sure, I don’t know a lick of music theory, I do everything by ear. One thing I think helps is that I make 99% of the samples I use, so that helps in the post production stage a bit. Usually when I start creating a track It’s based off of a single sound or loop, I rarely say, “Okay here is what I am going to do”. I do try to stay original, as great as Creative Commons is, it’s hard to stand out since there are a ton of great artists involved. At the end of it all, I’m just making something I would want to hear, if it makes another person feel something (other than disgust :P) the time was well spent.

Your track names are quite abstract. For example, what do 3501cn3t5i1 and 5^ddn355r1n5 mean?

I figured most people would just look at them as say, “whatever”. I’ll spill it for you.

3501cn3t5i1 – It’s backwards “1i5t3nc1053” or “listenclose” There are a lot of voice samples in that track that are intentionally leveled down. One night I was bored and found a website that focused on EVP’s (ghosts talking). I made that track utilizing voices, that the people originally recording them, thought were dead.

5^ddn355r1n5 – Which is “Sadness Rains” (I just noticed that I added an extra ‘5’ to the title, whoops.) The name came from the voice sample that I used that sweeps in before some of the major changes in the track. If you listen to that sample backwards it says something really happy, but backwards it sounded like it said “Sadness Rains”. For whatever reason, I thought that was really cool. :)

How do you know John Holowach?

John and I actually live in the same state although we have never meet in the real world. I met him through opsound when he, Vavrek, and RJ Marshel were retooling ‘Our lives Change’. I had been talking back and forth with those guys, giving them access to my music and then John started sampling, re-mixing, etc… which he featured on a couple of his records. We then got an offer to place one of our tracks (Practice remixed by John) on an Independent Film (Granito De Arena), which we agreed. From there its been an e-mail, Internet collaboration, friendship thing.

Recently, Tryad gave me access to all of their source material and I have been playing around with that. Those guys are great, they give you total freedom and are very honest about what works and what doesn’t. Hopefully soon you will be reviewing a new single by them that I have feature on. I honestly think it’s my best contribution to date.

Do you run the need-name site? What’s the background on that?

Yes, I do run that site. “nn” was created for friends, kind of like a club but without the tree house. It really is a site that doesn’t know what it wants to be. If you look at the front page you can see it’s focus jumps around a lot. I let the members dictate the direction for the most part. As far as the name, it was a total lack of creativity on my part. I dislike branding and I didn’t want the site to be pigeon holed easily. Most successful sites have a general theme and that is what makes them popular, mine doesn’t. (which would explain its lack of success, heh.)

Creative people collaborating on the Internet - sounds like a pitch for a new online service of piece of software, right? Well, there are creative people collaborating out there, defying the traditional idea of what a band is, who discard the restrictions of traditional commercial music distribution. John Holowach is one of these people, and produces music you can download on archive.org, and also with his band, Tryad. John kindly took the time to take part in an interview with me so we can learn more about how he works, and how he’s using new distribution methods to get his music heard, and perhaps even make some money along the way.

1. Your music is largely sample-based. What made you start writing music this way?

Well, I think it just began as a learning curve. When I was younger, I played piano and trumpet, but moved away from that, and concentrated mostly on working and editing things on the computer. After hearing songs that I thought could be approved upon through a little editing or alteration, I started remixing. After Rob Dougan’s CD Furious Angels came out, I decided to play around with remixing it, and ended up redoing the whole album in remix form, which lead to my thinking that there can be originality and innovation using things from the past. So I created “new” pieces by taking classical songs and retooling them, and slowly made my way to working on my own samples, or so severely altering other samples that they were like their own creation.

2. Do you ever use any traditional tools of the samplist, or are you entirely computer-based in your approach?

I use a microphone on occasion. Heh.

Actually, other than recording some sounds, I don’t use anything outside the computer for organization and composition.

3. Are you interested in using open source software to create music, or are you more focussed on the end result rather than the tools?

Unlike many in the Creative Commons or Open Source community, I’m not so caught up in the politics of it all. I just want to create something new and interesting, and the best way for people to hear it right now is through the use of Creative Commons licenses. As for software, I’d have no problem using an open source program, provided it gives me the sound-editing capabilities of Adobe Audition, combined with the excellence that is ACID.

4. Your band, Tryad, produces music by collaborating using the Internet. How do you achieve this? How well does it work in practice?

Surprisingly well. Then again, not knowing how a traditional band setup produces music first-hand, I can’t directly compare. However, things usually progress from one person’s song or idea or simple track, and then each person adds as is necessary. Many tracks on Public Domain began with rjmarshall’s works, then I took them and remixed then, adding new sounds, beats, etc., before sending it off to vavrek, Arna, and Ema for vocal work, as was necessary. Other times, I started with a track and rj would add his own touch to it. Then again, some were almost carbon copies of previously created tracks, with the exception of some editing and vocal work. So, there’s no strict rule with this, as it’s everyone’s creativity working in whatever way they find best.

5. Will you pursue this approach in the future?

I’m still part of Tryad, aren’t I? Heh…of course I will. It’s too easygoing an approach not to be able to effectively work in such an environment.

6. How did you meet the members of Tryad?

Just like how members of an internet-collaborated trip-hop/electronica group would meet: I found rj’s “Tinderbox” online (which was under a Creative Commons license), and thought it had great potential as a powerful song. I took it and reorganized and added a backdrop of beats, thumps, and bass, and then sent it to rj for his blessing. He loved it, and posted it online. I posted it as a part of Basement Of Broken Dreams, my first internet album, and vavrek stumbled upon it. He sent me an e-mail, asking me to sending him a high-quality track so he could add vocals. I responded that he should just work out the track and send me his vocals, then I’ll add them into it. After some work with reverb and echo and tone (not to mention organization within the structure of the song), “The Final Rewind” was born, and so was Tryad.

7. Do you perform live?

It would be cool if we did. I actually had this idea for a way for the audience to participate by having some of them clap and another part stomp their feet, etc., creating their own music right there. Unfortunately, distance is the big factor here, making it impossible for us to perform live (vavrek, Ema, and Arna are on the west coast, I’m in Ohio, and rj gives his time to the UK, Japan, and, recently, China). Someday.

8. To what degree are you influenced by the area where in you live? Are there any organisations catering towards helping people who produce music and art with liberal licenses such as Create Commons?

In my experience, the area I live has not influenced me very much. I’m certain that I, as a person, am the way I am in part because of where I live, but that really has little to do with my music. I think I was most influenced by music I’ve listened to that others didn’t know about originally, especially the likes of Rob Dougan, Moby, Paul Oakenfold (to a lesser extent), and a barrage of others, ranging from Cocteau Twins to Beethoven to Ella Fitzgerald to DJ Shadow and UNKLE.

As for if there are any organizations… Well, none in the area. I work so much online that it’s where I like to work and live, so there are plenty of places I go there. For instance, CCMixter.org, the Freesound Project (http://freesound.iua.upf.edu/) - where I’ve gone for many a sample - and so many other places.

9. How do you gauge the success of a release online?

That’s a tough one. Right now, I’m getting ready to send a barrage of copies off to CD Baby to get them digitized and onto online distribution, as well as continuing to sell CDs through Tryad.org (only $8.88, kids!). The first day, thanks to a generous mention from Cory Doctorow at BoingBoing, we immediately sold eight copies, and we just sold another recently. Is that good for an internet-only band? Who knows? Really, this is all new and different, and I think the stranglehold of the labels is starting to break-up, but we need people to help us and other bands achieve that. We’re just hearing now about a service called PlayLouder that is using a system very much like VCL (Voluntary Collective Licensing, see www.commonsmusic.com/eff.php for details) that would be a great setup and model for the future to help artists make money. This would be especially beneficial to indie artists and internet-only acts and labels, like myself and Tryad.

I think once someone finds something that works, that’s successful, we’ll have ourselves a great new way for artists - whether musicians, filmmakers, or otherwise - to express themselves and be rewarded for it. Until then, all we can ask is that you buy our CD (or, soon, buy our music from iTunes), and hope for the best.

10. Will there be more Tryad in the future?

Absolutely, absolutely. We’re already working (slowly) on our next album, tentatively titled Listen (well, that’s the title I recommended, anyway). Hopefully we’ll strike that magic again and get another “The Final Rewind” or “Witness” or “My Piano Sings (Part 4)” out of it. Until then, keep checking Tryad.org, download and enjoy the album, and, if you like it, get the CD. I promise it’ll make us work faster! *wink wink, nudge nudge*

Sam Hodge has released work under the alias spoonPhase on Webbed Hands Records. His music varies from psychological explorations of the grotesque and ironic, to epic soundscapes, produced using varied techniques and even homemade instruments. We got talking and decided to do this interview, in which he discusses the inspiration for his music, his roots and future activities…

Is there much of a “scene” where you live?  Do you get a chance to play live often?

Sam:

Well… I’m from Huntington, West Virginia and let me tell you… there is NO scene for experimental electronic artists here.  Around here… the only crap that is successful live is stuff like punk rock, metal, hip-hop, or house music.  I DO play drums live in a band and I’ve been playing in bands since I was 14.  I’m almost 22 now so that gives me a good deal of experience with the live element.

Musically, what are your influences?  I noticed a few sounds and techniques that remind me of some of the more unique artists on British labels such as Warp, are they a big influence?
 
Sam:

You are correct for finding these connections.  The music scene in the UK is more where I would like to see myself in terms of style and crowd support.  It seems like the fans over there are more open minded and experimental IDM can thrive heavily over there.  My musical influences go way back to all kinds of rock and classical training… however, on an electronic basis… Richard D James (Aphex Twin, Gak, AFX, Polygon Window, etc.) was my first big influence.  I was fascinated by the way he just expressed EVERY random thought WHILE producing… it’s so free to work this way.  Other artists that have influenced me, which you’ve probably already figured out, are Squarepusher, Autechre, Bjork, Ezekiel Honig, Venetian Snares, and some other insaniacs. 

What caused you to release work on the Internet?

Sam:

One big reason I got on the internet is that I aim more for fame than money and it seems like when something gets big on the internet… it’s on TV the very next day.  It’s a huge communication medium that one might not like, but will die (career wise) without it.

Music released on netlabels often feels anonymous.  There isn’t usually much background on the artist - did this attract you?

Sam:
 
That didn’t really attract me at all actually.  I actually felt that a little bit hindering because the way I write music isn’t just making music.  There’s an entire feeling and vibe that I want people to get and if I can’t really communicate who I am to people, then I can’t really be sure that they are getting the right message from my music.  The thing that attracted me was that it seemed like a nice way to get a little bit of exposure.  Some net-label musicians are discovered by more commercial labels… so it’s not all bad.  The way I see it… if I’m not selling my music, then I’m gonna give it away for free.  Even if I get to be big commercially, I plan to do one FREE release for every release I sell!

A lot of your work appears to explore darker psychological moods and themes.  Do these come from your experiences, or are you reflecting on the world in general?
 
Sam:

Haha… this is a little of both.  I’ve been through some really harsh times and it’s opened up my eyes to some of the things in the world.  One thing about me is that I’m fascinated with horror.  This probably stems all the way back to my childhood… which was a completely frightening time in my life.  Why?  Because every night I was haunted by this malevalent spirit that I called the “dark man”.  Crawling around past my bedroom… stopping to look at me.  This was a truly frightening experience for me and I can’t really go into full detail because it still scares the shit out of me!  When I didn’t see that thing and finally slept, I had nothing but very intense nightmares. 
 
Since then, I’ve had periods of bad depression and some suicidal tendencies (not because of that though)… I’m VERY happy now, but I like to use those “lessons” as kind of a pallette sometimes… although, it’s definitely not all I write about.  Maybe you’d be interested in knowing that I currently have 110 horror movies on DVD?

The samples you sometimes seem to be ironic, which is what I initially enjoyed about your work: juxtapositions and curiously dark music.  Is this a reaction against stereotypes of electronic music, or are you purely expressing yourself?


Sam:

Again… I would have to say this is both because in expressing myself, I am standing out against the same ol’ crap.  Like I said, I’m completely in love with exploring the reaches of the human mind and the darker corners within.  I think in order to make a song even darker, you give it a happy, nursery-like sound… and add some freaky child-like singing to it… then add some very subtle hints at darkness.  This in turn provide humor (to those open minds) AND it chases away the people that I DON’T want to have listening to my music.

Some of your work, such as Songs for Psychos, are as good quality (in terms of production and composition) as commercial releases.  Are you working on a tight budget, without commercial investment to help pay for equipment?

Sam:

Well there are two ways I make instruments… physically and in the comp.  In the comp… I usually just record something like my voice… or a big single wind chime or scrape something or whatever… and I granulize it in FL Studio…
 
Physically, the latest thing I’ve made has been a string/drum thing.  I took a really freakin long and tight spring and put it through a drum head.. and man I can get some crazy sounds out of that thing.

Where is your work going, commercially?

Sam:

Commercially, I am finally being released on a real compilation through a label called Wrong-Music records in the UK.  This compilation is called “Whatever” and they’re using a song of mine called, “Choking on Air-Moving on Air”.  This was found on my album, Messy Messy Messy.  I’m really hoping that this connection will give birth to a commercial connection for me… mainly because I can’t afford to release official albums on my own.  It costs a lot of money to make them… and it’s incredibly difficult to market them.  Wrong-Music has lots of distribution connections worldwide.  What I like most is that they’re connected to Planet-Mu records… which is home to artists like Venetian Snares, Shitmat, and Speedranch. 

What do you think about creative Commons Licensing?  Do you mind people sampling your music and using it however they want, with no credits?

Sam:

If I minded, I wouldn’t let it happen.  It’s a good way to get some exposure and if I decide I don’t want it to be CC anymore… I can have it removed from whatever net-label it’s on. 

Do you think you’ll be able to rock out full-time in the future and ditch the day job?

Sam:

I believe I have the determination for this goal and I would love to believe that I have something that people will enjoy.  I make music for myself… meaning it’s what I want to hear.  I probably listen to my own stuff more than any other artist’s.  Lots of artists give up when the first few labels say no to them.  I’ve realized that I’m NOT going to change my sound… I’m going to find the label that fits my sound.  I believe that will be rewarding and hopefully I will be able to live off of it.