“Cooler” by PHASES, a new song that premiered yesterday:
Tag: music (Page 2 of 5)
Kerby Ferris is a sound artist & software developer who has played music with Lovers, Paw Prince, and Lavender Mirror. Kerby answered questions about the intersections between creativity and technology, designing sound installations, and composing music in Los Angeles.
After The Show: You’ve said that the music you make can reflect the city/environment you’re in – music you made in Sao Paulo was frenetic and busy; music in Portland was feminine. What about LA?
Kerby: Cool question! Los Angeles is new to me and the effect it is having on my creative process is still very much coming into focus, but I’m absolutely inspired by the angular openness here. I have lived in large and international cities before, but never one with this kind of simultaneous access to personal space, and the combination is fascinating. This weekend for example: I danced all night to Kerri Chandler and then came home in a t-shirt in February to a tree with oranges AND lemons dropping off of it… come on!
Also, there’s the nice piece about making a move to Southern California from the Pacific Northwest since, in so many ways, the loveliness of the Pacific Northwest has to do with the beauty of the undiscovered, while Southern California contrasts as that of the thoroughly discovered. That’s a spectrum that feels great to walk right now. I’m very happy to be here.
Some of the sonic textures in Paw Prince and Lavender Mirror tracks remind me of songs on A Friend In The World. When you’re composing and creating a mood for a song, how do you know when to keep going and when to stop?
To be honest, doneness is such a lasting struggle, and as I get older I’ve begun to recognize that I am totally reliant on circumstance to tell me when it’s over. If I had my way, none of these songs would ever be finished, so I’m so happy I never get my way.
Now that you work as a programmer/Software Developer, what’s your schedule like? Do you still have time to devote to music or is it more on the backburner?
Right now I’m working full time and on-site as a software engineer. That approach to work is absolutely new and different, but it’s been super interesting and exciting so far. I enjoy my job and the environment/people there, and it is a fairly freeing experience to have work begin and end at some set time each day. Also I’m finding that, with the work/not work demarcation in place, I can connect the dots more creatively in my free time, not to mention relax about how a musical idea might end up in money, which has really taken some pressure off my process.
There’s a deeper piece as well, which is that working with logic and systems leaves me bursting with a sense of connections, observations and feelings that I want to express creatively. Logical problems have always been a sort of muse, and when I get a chance to really hash one out, I find it very inspiring. I’m looking for a studio right now. We’ll see how it all goes.
Can you describe the process you went through to design and build the sound installations for the Ace Hotel?
Oooooh I love an opportunity to talk about this project!
What I wanted was a way to lower the barrier to musical entry so low that all it really required was the condition of form itself. To make that happen technically, I used an Arduino micro controller with a midi shield and some C++ code to translate signals coming from a series of photo-resistors wired into cedar boxes to a sampler and a synth. Photo-resistors are super cheap electrical components that change their resistance in relation to the presence (or absence) of light, so, in short, if a person put his or her hand in between the sensor and a lightbulb it would trigger a loop and a synth tone for as long as they kept it there. That was the mechanical concept.
Musically, I created a sort of modular composition: a piece broken up into 12 or so components that would work well together and in various combinations, so the result would feel like it made sense, but was still dynamic and at least slightly (or satisfyingly) unpredictable. Further, the code instructed the micro-controller to check back for a signal twice a second, which effectively quantized the performance to 120bpm, so triggering a loop was not only easy, it also ‘sounded right’.
The installation worked, and the whole room became an instrument…Watching people of all these different ages and vibes engage and crack up and be surprised, confused and delighted together was incredibly sweet and rewarding…the overall experience was absolutely lovely and probably added 5 years to the end of my life.
I love your song title “It’s Always More Beautiful To Say Hello” and how the lyrics are so expansive/open to interpretation (like “the keys” in the opening line could have so many different meanings). Anything you’d like to share about what inspired you to write that song?
Thanks for listening! That song is mostly about a lonely moment of misunderstanding, about feeling totally mixed up or betrayed by language and strangers, and about trying to connect to a distant ally through objects, nature and signs. I suppose it’s the promise of a sort of wordless togetherness that moved me to write that song: About longing for love and the one you love, or a lonely-time lullaby about essence, connection and understanding.
You describe yourself on LinkedIn as a Creative Technologist, which melds programming with music and performance. What do you like about the ways that music/creativity and technology intersect?
The stark androgyny of electronic music and creative technology is invigorating to me–the way art that’s made with (and sounds like) machines holds the tension between opposites: the ethereal and the material, the logical and the transcendent, the quantized and the free. This is how my brain works when it’s working, how my fashion works when it makes sense, how the world looks when I’m in the total pattern recognition zone. The idea of leveraging a machine(s) for the sole purpose of free and joyful human movement gives me chills. Technical art is a borderland, and borderlands are where all the interesting things happen. It’s so good to be alive now.
Thanks Kerby! Check out KerbyFerris.com for more info on all her projects.
Adult Mom (aka Stephanie Knipe) makes clever, catchy, lo-fi songs.
I just wish some of the songs were longer. Give a listen to “I Think I’m Old Enough” and “When You Are Happy” below.
“I Think I’m Old Enough”
“When You Are Happy”
Bonus listening: Other standout tracks are “Paws” and “Theme Song.”
“Ticket Out” is an alt-country song by Austin, Texas based artist Ruby Jane:
Uh Huh Her were nice enough to share a first listen, one minute preview of their new single “Innocence” (which comes out on February 4th) AND answer some questions about their upcoming “Avant Pop” LP, Future Souls.
After The Show: What is “Innocence” about…what inspired you to write it?
Uh Huh Her: Without giving too much away, the song is mainly about lost innocence in a world where most people have seen so much at tender young ages because of…the media, on tv, and social media. Knowing everything at all times is such an all encompassing part of existence now, and the song plays to the scarier side of that.
How does “Innocence” fit into the rest of the Future Souls LP?
It plays into the record in that the questions the songs pose are mostly philosophical in nature. I tend to ask a lot of questions and am constantly wondering…what existence even means, where we are heading and what we are evolving as a species into. It’s super light material. HA. Future Souls is kind of synonymous with those questions.
Anything you want to share about the recording process?
It was very leisurely and experimental and without limitation, so we had a really good time making this album. We got to collaborate with some amazing folks as well, so that was pretty ace.
I love the vocal harmonies on older songs like “Run” and “Say So.” How does the upcoming album sound compared to Common Reaction?
It’s similar in that we went back to a more electro/pop sound with a little added soul and avant garde structures. Some songs are like 5 1/2 minutes long and normally we would think twice about that, but this album we just kind of let it all flow. When the songs end, they end but not because we are trying to fit them into a 3:30 second radio format. We like to call it AVANT POP at the moment.
How do you balance art and business? Will you do anything differently business-wise this time around?
They are hard to balance. Obviously we could use more help in so many areas, however with that help comes the loss of control and sometimes money because you’re shelling the majority of it out for all the “help”. We enjoy the process of knowing our own business from front to back, but some tour support would be nice!!! =)
“Innocence” will be released on February 4th on iTunes
+Pre-order Future Souls at UhHuhHer.com
Photo by Julia Robbs
Wesley Verhoeve is the founder of NYC-based music company Family Records, an independent label and artist management/development firm.
He’s also the co-founder of GNTLMN and writes about the intersection between creativity, tech, and business.
After The Show: You work on so many projects – what’s the breakdown like? Take me through a typical week or day for you.
Wes: It depends on the week and day. Some weeks I’ll have a client in town. Other weeks we have a new product launch…we’re working on watches right now for GNTLMN. Sometimes a new music release. I’ve realized it’s not so great if I try to work on multiple projects in one day…It really just depends on what’s more important that week.
On Sunday mornings I always take a couple hours to review my past week and see if I maybe missed something or got caught up on something. So, look back and then look forward to the next week and block off days for specific projects.
Tell me about the work you’re doing to connect tech and music start-ups in Europe to the American market.
That’s a newer thing…I’m trying to figure out how I can add the most value, for example to a company that’s successful in Germany and trying to come over to the US. Because I’ve lived on both continents, I can give them advice on how to adapt their product or marketing. So there’s product-focused strategy, and marketing-focused, and also introduction based (introducing them to people). It’s really pretty diverse…sometimes also curating.
What project do you find most challenging?
Family Records. I’m spending more time thinking rather than doing. The problem with music releases is that there’s so much released, and it’s so ephemeral. I’m thinking about how to make releases stickier.
How do you reach a balance between consuming and creating?
That’s a good question. It’s a little bit in flux. My friend Frank Chimero is a designer and he had an article about this particular topic – being a freelancer/creative can be kind of lonely. I can get caught up in talking a lot. It’s very easy and fun for me to consume magazines, books, and all that stuff, but while you’re doing that you’re not actually making anything. Making is more important for me.
I’m trying to be very conscious of that. I’ve scaled back some on the podcasts I listen to, blog posts I follow, people I follow on Twitter…there’s so much to consume that I can’t create anymore. Doing things like going out into nature is more interesting to me than reading about it.
Where do you get ideas for the articles you write on your website?
It’s either something I’m dealing with myself – and writing it down to help work through or crystallize it – or something a friend talked about. A lot of times it will be sparked by something I hear or read.
It’s funny…my most popular/shared one is the coffee shop post [published in Fast Company, “Why You Should Work From A Coffee Shop, Even When You Have An Office”]. That was a quick one to write and turned out to resonate more than articles I’ve spent a full day slaving over. You never know!
Thanks Wesley! Keep up with his latest projects at WesleyVerhoeve.com.