Heavy Light - Via Luna (33m, no vocals)
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Muted Earth - Via Luna (26m, no vocals)
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Have an even weekend.

Conditions for Observing Light - Cephas Azariah (40m, no vocals)
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Joy Paradox - Cephas Azariah (52m, no vocals)
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What’s your earliest memory of music?

My grandad (on my dad’s side) used to play Mridangam – a South Indian classical percussion instrument – at home. My other grandad used to play harmonium and lead the church choir. Both of them were very musical and traditional church songs were a part of home life from a young age.

What were your first recordings like? What did you use to make them?

The first time I recorded music as an artist & composer was on an old (very tired) MacBook using Omnisphere. I bought a license to explore sound design as a new composer on the film & tv scene – it was great to have a variety of high quality sampled sounds to get the ball rolling. I’m big on putting ideas down when they arrive, Omnisphere was perfect for that!

Which were the artists / albums that most influenced your sound early on?

Interstellar soundtrack (2014) and film music in general. Anything with orchestral synth hybrid sounds. Tony Anderson was good at this too. Lots of emphasis on low mids and clarity around warm synth & piano combinations. Something about his music just sits so well.

Also I grew up in a home where gospel/christian music was always played so that stuck with me too. Mum had artists like Ron Kenoly and Darlene Zschech on repeat. Dad was into Karnatik (Indian classical) – AR Rahman’s film scores were also popular.

Your first record was felt piano-led, with orchestral / synth accompaniment. This new record seems to lean more into that extra-piano aspect, the synths and the strings especially. We’re curious how your compositional approach changed since Joy Paradox.

Joy Paradox was special in the sense that it was the first. I had to arrive and set the scene quickly as a new artist, giving new listeners the lay of the land. CFOL was an evolution of that, more towards the cinematic end of the spectrum. It’s nice to push the boat out and broaden the lane I’m in. In turn we have a more dynamic project where the quieter songs are smaller in personality and the bigger songs have a lot more going on. Minimal piano to broad-paint-brush strokes on synths.

I also think instruments play a big part in this. The first record was written when I only had my upright piano and the rest was written in the DAW with very selective sounds. Between writing Joy Paradox and eventually writing the second, I fell in love with analog synthesis – especially the Moog. This has been a significant factor in shaping the new project.

We loved this quote you gave to 15Questions: “I only listen to music on Mondays and in the mornings, while making coffee, I put on one side of a record. My ears are then preserved to hear my ideas and keep them far from sonic fatigue.” Is that still your routine? Also,do you find inspiration from other artistic media, if so what pieces most affected you while making Conditions?

Ahhh yes! This is a product of my Type C personality. In an alternative life, I’m working in a monastery somewhere peaceful (whilst being married and making music). The music Monday routine came from being overstimulated in general. Over COVID I had the chance to address some of this and return to one of my favourite hobbies which is listening to music! I understand the difficulties with this being a music artist, however it is possible to simply enjoy another person’s song without trying to gain something from it besides beauty. I’m not trying to learn production techniques or analyse intricate compositional aspects to mimic. Just the joy of hearing someone else’s good work. That requires intention. Monday morning is that time & place. In turn, yes, I have the ear space & headspace to carve out my own ideas as much as possible. I don’t care that I have limitations - musical, aural, skill, equipment, location - I can’t know it all and frankly don’t want to. I create with what I know and have – if it’s done well, that alone is enough.

Songs/Films/Books that have influenced my sound:

• Grace by Tony Anderson

• Perfect Days by Wim Wenders

• Prayers by Dobrawa Czocher

• Empires by Hillsong United

• Mind of the Maker by Dorothy Sayers

• Immunity by Jon Hopkins

• Loom by Ólafur Arnalds ft. Bonobo

• Interstellar Soundtrack by Hans Zimmer

What’s your studio setup? What instruments/gear/software did you use to make Conditions?

Okay. My wife & I have recently moved so we took the opportunity to put a small studio in the garden.

Here’s a comprehensive gear list.

Instruments:

• Small Upright / Pianette from 1980s

• Nord Grand 2

• Moog Matriarch

• Moog Subsequent 37

Pedals:

• Strymon Timeline

• Meris Mercury 7

• Walrus Audio Qi Etherealizer

Hardware:

• Antelope Discrete 8 Synergy Core

• Neumann KH 120 monitors

• Coles 4038 (for piano)

• Shure SM7B (for general audio)

• Heritage Audio Synth Buddy

• Ableton on MacBook M1 Pro Max

10 Plugins/VSTs I use the most

• Landforms by Slate & Ash

• Stratus by Spitfire Audio

• Soundtoys Echoboy

• Valhalla Shimmer

• Omnisphere

• TAL Chorus

• Shapr by Battersea Audio

• BEAM by Lunacy Audio

• Soft Piano by LABS

• CLAIRE by Native Instruments

CFOL was written mostly with what I have above, plus a couple pieces of gear I don’t have anymore – Sequential TAKE5 & Hologram Microcosm.

What are some records that you’ve spun recently that stuck with you?

• Temporary Coexistence of Humans by Peter Sandberg

• The Space in Between by Dâmares Gomes

• Ain’t it Beautiful by Ivan Theva

• Desert by Lara Somogyi, Jean-Michel Blais

• Are We There Yet by Hillsong United

• Hemisphere West by Toulouse

Name an underrated artist from the past 50 years.

There’s two: Büşra Kayıkçı and Jacob David.

What are you working on next?

Couple of scoring projects and a minimal piano record to contrast with CFOL. I’d also love to write a record that’s fully hardware – piano, couple of synths and my pedal chain. Let’s see what happens!

For Flow State we’re revisiting Davachi’s latest release The Will of Tongues, which is truly something. But first we’re playing her 2021 LP, Antiphonals, which contains the track “Gradual of Image” which opens this episode. “When I was making that album,” she told Bob, “I would think to myself, this is like a prog song but just the keyboards. If you isolated the keyboard track and slowed it way down, this is what it would be like.” With today’s rec she extends her Flow State record of being featured in the newsletter eight times, though somehow we haven’t recommended Antiphonals before.

Antiphonals - Sarah Davachi (44m, no vocals)
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The Will of Tongues - Sarah Davachi (139m, choir vocals on a few tracks)
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Have a great Wednesday.

0:00:00 - Ludwig Göransson - Sirens

0:02:33 - Francesca Heart - Wild at Heart

0:05:26 - Exportion - Upward, Everything Blushes Orange

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Pieces in a Modern Style - William Orbit (60m, no vocals)
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Pieces in a Modern Style Vol. 2 - William Orbit (130m, non-lyrical vocals on a couple tracks)
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We wish you a great start to your week.

Memoria - Carmen Villain (35m, basically no vocals)
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Both Lines Will Be Blue - Carmen Villain (40m, no vocals)
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What’s your earliest memory of music?

I remember being completely obsessed with this classical music CD box set that my parents had, I’d put it on and dance around the living room, I must have been around 6 or 7? It included the sort of greatest hits, Vivaldi, Debussy, Mozart, Bach… but what really stuck with me was Ravel’s Bolero.

When did you start making music? What were your first recordings like?

I started making and recording music in my mid 20s. The recordings were very simple; songs, usually some loops made out of midi drums, guitars or samples, processed in a very simple way, reverbs, echoes, guitar pedals, etc.

You shifted from guitar-led songwriting to more ambient/electronic music – tell us about the creative impulses that led to that shift, and the artists/albums that helped you find that new direction for your sound.

I was very interested in the instrumental part of the production already from the start, I’d spend a lot of time on the details and the atmospherics of the tracks. My early albums had several purely instrumental tracks on them. When I started working on Both Lines Will Be Blue (my first fully instrumental album), it just felt more effortless, interesting and enjoyable to move my focus to only the instrumentals, It just felt like a natural transition to me. At the time I was listening to a lot of ECM, cosmic free jazz such as Pharoah Sanders (Karma), Alice Coltrane (Journey to Satchidananda), Don Cherry (Brown Rice etc), Rhythm & Sound, Biosphere (Cirque), Moondog..

What was your studio setup for Memoria? What instruments/gear/software did you use to make the record?

I started the whole process by booking in a day at Rainbow Studios in Oslo, and invited Johanna Orellana (flutes) and Eivind Lønning (trumpet) to just improvise various different takes, some based off prompts I would give them, others where they just did what they felt like. I also recorded some clarinet stuff there. I then took this new, great sample bank and started using that material along with other new and archival sound recordings in different ways in my own studio. I work in Ableton, and mostly used a variety of VSTs for programming and processing, a GR-1 and a couple of outboard pedals. The strings were recorded at André Bratten’s studio during our final touches on the mix.

The new record is thematically about memory, specifically “sound as memory.” Tell us about your relationship to that idea and specifically what inspiration you took from Oliveros.

I’ve been fascinated by memory and our perceptions of time for quite a while. They are just some of life’s big mysteries that I don’t think we’ll fully understand, but are what gives us a sense of meaning of who we are. I first read Pauline Oliveros’ Quantum Listening late spring of ‘25, and I felt she put many things related to sound I’d only abstractly thought about into such considered and beautiful words. As a musician, I had been aware of the practice of active listening as an essential part of my practice, be it while working in the studio, playing with others or hearing and recording a sound somewhere. What really stood out to me was how she encourages the reader to engage in active experiments, one that stood out to me was a prompt to try to remember a sound from your past. I had never actively done that before, and sure enough I could hear a sound from my past by thinking of it. I think on a whole, active listening can encourage a deeper curiosity and and connection with both ourselves and our surroundings, and that way unlock more empathy.

How do you discover new music these days? Any notable finds recently?

It’s mostly through friends recommendations, listening to NTS and other mixes by people I admire, Boomkat, Bandcamp. I also regularly check out the catalogue of labels that I like. I was listening to some of Eivind Lønning’s earlier collaborative records, and came across the Streifenjunko album Like Driving from 2018, its great.

Name an underrated artist from the past 50 years.

Johanna Orellana

What are you working on next?

Next up is playing shows, so I’ll be preparing for a couple of different iterations for that. I’m looking forward to do music for film, and also looking to do more music for stage and installation.

Slide - Patrick Gleeson (48m, no vocals)
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An Electronic Portrait of Holst’s The Planets - Patrick Gleeson (49m, no vocals)
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Have a magical Thursday.

The Will of Tongues - Sarah Davachi (139m, choir vocals on a few tracks)
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Have a great Wednesday.

0:00:00 - Lara Somogyi & Clarice Jensen - highway nocturne 40

0:04:04 - anthéne - time and space

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A Portrait of Distance - Toshphic. (39m, no vocals)
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Nowhere - Toshphic. (40m, no vocals)
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We wish you a great start to your week.

Meditations - Carl Craig (60m, no vocals)
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The Secret Tapes of Dr. Eich - Paperclip People (72m, vocals on tracks 4 and 10)
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Have a really nice weekend.

Sunlight To Blue… Blue To Blackness - The Durutti Column (56m, vocals on tracks 6-8)
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Renascent - The Durutti Column (42m, vocals on track 4, 5, 8, and 11)
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Have a great Thursday.

Melting Days - Lusine (46m, some vocals on track 8)
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Serial Hodgepodge - Lusine (55m, vocal notes on track 1)
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What’s your earliest memory of music?

I always kind of go back to thinking about what I was listening to when I was five or six years old. I had the 45 of “Let My Love Open the Door,” which was maybe my first favorite song in the world. Maybe Sesame Street before that.

Did you later get into The Who?

No, I never really did. When I was in junior high, my sister got me into a combination of Led Zeppelin and Depeche Mode. I got heavy into Led Zeppelin for a while. Then as far as the classic rock stuff, Pink Floyd and a few others.

How’d you get into electronic music?

I grew up in Dallas, and Dallas in the early ‘90s was actually a pretty big techno city. We had this radio station that would play techno and breakbeat and stuff every weekend on Saturday nights. I started taping these broadcasts, and I would have mixtapes of all the Edge Club shows on 94.5 The Edge.

We had a big record shop in Dallas called Bill’s Records and Tapes. He just recently died, and they had a big writeup about his record store. It was kind of a big deal. They had a lot of electronic music back in ’92: Prodigy and Moby and Cybersonik, which was Richie Hawtin and a couple other guys. They all came on tour, and they all signed autographs over at Bill’s Records and Tapes. Dallas had somewhat of a scene, that’s how I got into it.

Do you still have those tapes?

I do. I’ve digitized three of them, but I have maybe four of them to go. One thing that’s a shame is that I was out one night when I was 18 or 19, and somebody broke into my car and stole a bunch of them. I had a lot more, but I still have a few, and they still play.

The lost Edge Tapes are floating around somewhere.

Yeah, they are. Although I think you can find old broadcasts of Edge Club on YouTube. A bunch of people like me put them on cassette tapes.

What were your first recordings like, and what did you use to make them?

My first recordings were trying to make beats, but more melodic I suppose. I didn’t start making music until the next year, when my friends got me into other stuff like Aphex Twin, Autechre, Orbital, stuff like that. I was starting to get into more melodic stuff. I had this Korg X3 workstation, and I had a drum machine called a RY-30. I would make songs using the workstation, a fairly limiting workstation but pretty cool for its time, and then syncing up the drums from the RY-30 with that.

Were those melodic techno?

I suppose you could call it that. I was using a lot of pianos and stuff. It was pretty rudimentary but you could call it melodic techno, sure.

Then your first couple albums – Steady State and Iron City – there’s not really a consistent style across those records. Maybe you could compare them to Aphex Twin in terms of the stylistic variation. There’s some ambient stuff, there’s some trip-hop stuff, and two-step comes into play to our ears. What was the composition process like for those? Did you make tracks within the file and pull the thread to assemble it bottoms-up, or something else?

Back then, I was still working with hardware more than software, which I moved forward with in the years after that. Honestly, software was a little more basic back then. I was making Pseudo Steady State back in like ’99, and Iron City I was making in like 2000 or 2001. I was probably messing around with FruityLoops back then, because I think it came out in ’98. I had a program called Software Audio Workshop which was like my DAW. But this was the pre-Ableton days. So I had a bunch of hardware. I had a hardware sampler, an analog synth, an effects unit, so I was coming up with basic loops with the workstation sequencer. Then I would record those loops to my computer, and then assemble the loops together in a DAW. But it wasn’t as malleable as it became later on. It was really assembling chunks rather than being able to form your tracks in a computer.

What sampler and synth models?

I had an E-mu ESI-32 sampler, it had I want to say 16MB of RAM. I had an ARP Odyssey that I got back in ’95, which was my baseline analog synth that I still have today. I was still using the Yamaha RY30, still using the Korg X3. I had a DigiTech TSR-12 effects processor. Probably a couple other things.

Was that the setup going into the Ghostly records? Or did your setup change going into those?

I went and played Winter Music Conference in 2003, and it was a sponsored show by M-Audio. M-Audio gave me a copy of Ableton, a very early copy of Ableton. FruityLoops was also coming on a little bit better. I was using Cubase as well. I could start doing things a little bit more “in the box” by the time I got to Serial Hodgepodge, but I was still using quite a bit of hardware at that point. I still use hardware today, I’m just talking about the formation of the tracks.

Compositionally, what changed with Hodgepodge?

I was able to be more meticulous in the box than I had been before. I could come up with full loops of music and not have to commit right away. I was able to think a bit more about where I wanted the track to go before making that commitment to record it in. That probably changed how I wrote music at the time. Also, I was able to do more tricky edits, for better and worse. I was still printing in the effects, but you could do it a lot more easily when you weren’t just dealing with hardware. I think that had a huge change on my sound, being able to manipulate audio in the box a little more easily. I had moved on from my very old DAW to, I think at that point, Cubase, for just the audio portion of it. And then I was probably using FruityLoops for the programming side of it.

Was Language Barrier your first ambient-focused project?

Yeah, a lot of my earlier tracks had ambient stuff in there, but I was working on a film score at the time, so I was in that headspace. I had all these ideas as I was working on the score for how I could turn those into ambient tracks, so it came out of that.

We’re interested in the difference between film score composition and personal music composition. How do you approach those two different kinds of projects?

With film scores, you’re really working off of what the director wants, which is a big difference. You’re not necessarily making music for you; you’re putting yourself into something that’s very much directed by the director. A lot of the film scores I’ve worked on were not traditional scores. We use some strings and some traditional stuff, but also they were heavily sample-based. Most of the scores I’ve worked on were that way. You have the director who’s basically sending you stuff and it has temp music. You’re trying to find a balance between the temp music that they send, which gives the scene a certain feel, and how you could do it in your style. A lot of the time it ends up sounding like you, and other times the director’s like, “I really like the temp music here,” so you have to push it to be closer to the temp music. It’s a different flow altogether, which I kind of like, because sometimes I like having other people tell me what they want, and it challenges me to push myself outside of what I usually do. So taking those ideas that I did at the time – this is for a movie called Snow Angels – I was thinking about what I did and how I could turn that into an album, which has its own challenge. When you’re doing your own stuff, that has its own challenge, which is that you don’t have a time limit, and nobody’s telling you what works and what doesn’t, so you can frustrate yourself working on something over and over. But at the same time, you’re free to do what you want.

With your own projects, do you share completed tracks or projects with people and ask for their opinions, or are you more like, this is what I think is good and I’m gonna put it out.

It’s definitely the latter. I don’t get people’s advice at all on my music. You’ll just confuse yourself. At least, that’s my opinion. One thing is I’m very hard on myself, so if I don’t absolutely love what I finished, then the track isn’t done. I know later on I’ll have issues with all of my tracks, so you basically make it so that you’re absolutely confident with everything you put out, which takes a long time. Everybody’s got an opinion. You’d have to weigh their tastes against your taste, and that would just complicate things I think.

How long do you give yourself to become certain that it’s ready?

You always want to step back from it and then come back to it. Usually, I know that a track isn’t done for most of the time I’m working on it. But sometimes I’ll be like, “Yeah this sounds great, but I don’t know if I’m going to like it in a couple days, so let me come back tomorrow and see what it sounds like.” That always helps: stepping away from it and then coming back and seeing what it sounds like. I’ll be honest, some of my tracks I’ve spent like four or five months working on. I take a very long time. Sometimes something’s really flowing and I get it done in like two or three weeks, and that’s great, but I’m not one of these people who makes a track in three days. That’s never really been me.

For Melting Days, one aspect that stuck out is the texture, which to borrow one critic’s term for it, is vaporous. It’s a soft static layer over the music – does that description resonate, and in any case where does that sound come from?

For a long time I’ve been really into organic sounds, trying to make it as earthy as I can. Sometimes the way I make music can sound sterile, and when I hear other music that’s super clean and almost sterile, I don’t really like it. I’m always trying to figure out a way to make things a little more organic, and sometimes it’s adding textures, and other times it’s finding samples that are already kind of dirty to begin with. Sometimes it’s bringing those textures out with effects and EQ and whatnot. It is a sound I try to go for.

What were some of the more obscure sample sources for this record?

Oh, god. I won’t go too far into this, but I like to buy really old records for like a dollar, and find really weird old samples. Sometimes these are instrumental tracks, like one of them is a Japanese koto recording that I really liked. You record it in and it has all the nastiness and texture of the vinyl from being that old, but I obscure it to a point where you absolutely cannot tell what it is. I tend to go back to those records to pull a weird loop here and there. Sometimes it’s just a single instrument playing one note but it has a lot of texture to it. It’s nicer than going to a synth playing a flute, to pull in a sample of a flute being played which has all kinds of weird crackles and stuff.

What do you do to samples like that to make them unrecognizable?

It’s usually integrated within a whole bunch of other stuff. Sometimes I’m cutting it in ways that you can’t even tell that it’s the instrument I picked. A lot of times it’s one sample among many that pops up. I have this huge library on my computer of samples I’ve recorded over the years, and I’ll just pull random ones in. A lot of times I don’t remember what the sample was that I used, but it just had a particular quality that fit that specific spot in the track.

Is a lot of your studio time spent listening to old one-dollar records?

No, I’ll go in there and do a session of recording a bunch of samples. And then that’s that. Then I have all that stuff on my computer. This is just one thing that I’ll do to find interesting sounds. These days, a lot of software programs have really interesting capabilities to make organic sounding stuff as well.

Which plugins?

I got really into knowing how to work on Current, made by a company called Minimal Audio. It’s a cool piece of software. A lot of the music they cater to is not in my wheelhouse, but you can do all the interesting organic modulations and stuff. They have a huge library of samples that you can pull in there, then you can bring in your own samples, and it’s a modern software program that combines all kinds of synthesis and sampling stuff. It’s a competitor with a lot of the popular “EDM” software, so it’s got all the tricky modulations and synthesis techniques. A lot of those I don’t necessarily use because my music doesn’t have those kinds of new techniques that the kids are using. But you can still do anything you want within it.

So you’re not hitting the dubstep growl drop.

No, I’m not. And I’m not dissing on that at all. A lot of times these software programs are sort of focused on that stuff. But I am interested in trying to figure out how I could use that for myself, like those kinds of sounds, like how can you pull something different out of that. Additive synthesis is the big thing. Sometimes I’m going back to additive techniques and seeing if there are ways I can do something interesting. I think Clark does some really cool stuff with those kinds of styles. But he makes it his own.

His recent albums have been amazing. What artists/albums were you listening to over the past year or two that informed what you did on Melting Days?

Oh, god. I did not generate a list that I can run off of. Sometimes I do have a list running of artists I’ve listened to. Sometimes I forget, and then I have to pull up stuff. Going back to Clark, I really liked that album he did, like that track “Dolgoch Tape” I really love off Sus Dog (2023). There’s this record, do you know Kelly Moran?

Of course.

Her album Don’t Trust Mirrors I really liked. That one, I was on a train listening to that record, being like, “Wow, this has some really cool timbres, and is very musical.” A lot of the stuff that I’m pulling from is older stuff, like Susumu Yokota. Have you heard of the group Mountains?

Nope.

You should check that stuff out. It’s super beautiful. I need to probably reach out to them. It’s hard to find them – there’s more than one Mountains. One of their records was like a badly digitized thing, so if you listen to it on Apple Music, it has some glitches that aren’t on the original album. Somebody should probably reach out to them to get that fixed. You should check out their album Choral, which came out in 2009. It’s really good.

0:00:00 - Matthewdavid - Channeling Kalma

0:03:12 - Chihei Hatakeyama - door to the cosmos

0:09:00 - Oneohtrix Point Never - Stress Waves

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Air I - Pete Namlook (60m, vocals on track 4)
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The Dark Side of the Moog - Pete Namlook & Klaus Schulze (51m, no vocals)
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We wish you a great start to your week.

Give U Space - K Wata (55m, short vocals on track 2, little soundbites elsewhere)
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Dot Dot Dot - K Wata (25m, occasional vocal snippets)
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Have a sweet weekend.

Doubles - Duffy x Uhlmann (37m, no vocals)
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Hot Creek - Duffy x Uhlmann (33m, no vocals)
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Have a great Thursday.

For Flow State, we’re listening to a couple recent Centripetal Force records. First up is Zone Poems by Prairiewolf, a band we featured and interviewed back in 2024. The new album places their psychedelic guitar and synth pieces over laidback drum machines. We’re also listening to Baltimore by Tacoma Park, a wide-ranging instrumental record from April with elements of shoegaze, indie rock, ambient, and kosmische.

Zone Poems - Prairiewolf (40m, no vocals)
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Baltimore - Tacoma Park (42m, no vocals)
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Have a great Wednesday.

0:00:00 - TUAWKI - Blueberry Faygo

0:02:51 - Christopher Willits - Tides II

0:08:36 - Lara Somogyi & Rob Moose - sitting circle

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The Lake (OST) - Natalia Tsupryk (33m, no vocals)
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Inventions - Natalia Tsupryk & Angus MacRae (60m, lyricless vocals on track 1)
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We wish you a great start to your week.