Hiram (Interview)
Today we’re listening to Hiram, an American electronic musician from Minneapolis, Minnesota. Matthew Hiram is an environmental sound artist who also works as a Minnesota Water Steward. One of his instruments is the PlantWave, which hooks up to a plant’s leaves, detects micro-variations in electrical conductivity, generates a waveform, and converts the wave into musical notes. Hiram routes those notes to a Korg Volca keyboard, in effect having the plant play the keys. The plants are accompanied by hand-played synths and field recordings, to the point where the line between human and nature’s music blurs, to adapt his own description of Suzanne Doucet’s work. We’re playing his latest LP, Green Green Earth, which came out in January, as well as his February ‘24 LP, Yucca Music, whose tracks are longer-form. After the streaming links is a conversation with Matthew, who was kind enough to recommend five of his favorite albums in this environmental ambient style.
Green Green Earth - Hiram (33m, no real vocals)
Spotify / Apple Music / YouTube Music / Amazon Music / Bandcamp / Tidal
Yucca Music - Hiram (41m, no vocals)
Spotify / Apple Music / YouTube Music / Amazon Music / Bandcamp / Tidal
What's your earliest memory of music?
Music was always around in my childhood—there was singing, piano, and flute in the house, plus my parents' record collection to dig through. I was a choirboy when I was younger, and we toured Europe, so I have these hazy memories of performing liturgical hymns in massive, ancient Italian cathedrals at age 10. It’s pretty willd to think back on that now. My earliest musical memory, though, is my mom singing and playing piano. She still plays organ at her church on Sunday.
How did you get into ambient music?
I’ve always been drawn to the outer edges of sound, so ambient music feels like a natural fit, but it’s been a journey. I grew up in art school and got into DIY punk, but I’ve always been into challenging, experimental sounds. I dug hard into the noise, electronic, and experimental tape scenes of the ‘90s and ‘00s, particularly the psychedelic stuff—more about the tension and atmosphere than blasting for noise’s sake. That’s what led me to the deeper forms of electronic music, where sound is like painting.
Over time the palette has evolved, but I’m still working with the same foundation of improvisation, experimentation, and textural exploration. My recent work is more minimal and conceptual, exploring the depths of what you can create using very minimal setups. At this point for me, some interpretation of “ambient” music is just my natural way of creating— I play whatever feels right.
Who were the main artists who influenced your style, which emphasizes nature and environmental sounds?
Great question! There are a few key artists and albums that helped shape my connection to nature through music.
Artist: Suzanne Doucet
Main Record: Transmission
Suzanne Doucet is a legend in the New Age scene. Choosing one album from her catalog is tough, but Transmission stands out for its beautiful blend of field recordings and electronics. Her work with Christian Bühner is a foundation of this genre, and the title track really highlights the interplay between synths and nature sounds. It’s psychedelic in the best way, where it’s hard to tell where the electronics end and the field recordings begin. That’s something I try to capture in my own work—designing synth patches that complement and blend with the natural sounds.
Artist: JD Emmanuel
Main Record: Rain Forest Music
JD Emmanuel’s music is hypnotic, circular, and deeply immersive. I think I have everything he's put out. This is an essential LP from one of the all time greats. Rain Forest Music is crucial for anyone looking at the foundations of nature-inspired ambient music. He recorded rain sounds in his own backyard, and birds at the Houston Zoo Aviary, which is such a cool way to connect with nature, even in an urban environment. I used a similar approach for Green Green Earth, recording from bird sanctuaries and gardens. JD Emmanuel builds intricate sound worlds, his music is always so thoughtful and transportive, he really brings you to another place.
Artist: Paul Horn
Main Record: Inside The Great Pyramid
While not a nature record, this album taught me the power of connecting with a place and letting that space guide the sound. I first discovered the Mushroom Records ’77 pressing of Inside The Great Pyramid in a thrift store many years ago, drawn in by the shiny gold cover. Horn’s delicate approach, and respect to the Great Pyramid is powerful—he works with natural reverb and negative space in a way that’s still influential to me. It's about connecting and reflecting the space. His work is almost spiritual—it’s minimal, reverent, and deeply expressive, feelings I always hope to bring in my own music.
Artist: Joanna Brouk
Main Record: Sounds of the Sea
Joanna Brouk’s music is mesmerizing. I picked up the recent Numero reissue at Mississippi Records last time I passed through PDX. Brouk’s music feels so organic and elemental, like it’s outside of time. The balance between the music and nature sounds is seamless and natural. This album is a particular stand out, but all of her music is remarkable. Her pieces breathe and flow, which is so important. The music grows from human experience and movement, and uses these natural textures to form a greater whole. It’s really quite beautiful.
Artist: Larkin
Main Record: O'cean
I can’t go without mentioning this album. I’m not sure exactly how I found O'cean, but it’s legendary, and still one of my favorites. O’cean is this perfect fusion of ocean sounds with minimal flute and synthesizer. It’s timeless, totally meditative and ethereal. Critics may think this is corny, but it's still really powerful stuff. Long form, not radio friendly, and totally amazing. It says right on the back cover that a portion of sales goes to environmental protection support, which really resonates for me as well. An all timer record for sure.
What was your studio setup for Green Green Earth?
My studio uses both acoustic and electronic instruments, to create the balance I’m after. As a percussionist, I’ve got all kinds of resonant objects—brass bowls, cymbals, gongs, and metallophones—that provide the bright accents that appear through the record.
For the foundational melodic sounds, I used my Farfisa Mini-Compact organ and a Yamaha electric piano. That Farfisa really breathes with a life of its own. I play Moog synths—Mother-32, Minitaur, and the Sub 25, and I use a PlantWave device for data-sonification, where I can translate plant frequencies into sound. For the PlantWave I’m currently running into a Korg Volca Keys, for on-the-go field work.
Field recordings are also an essential part of my process. I usually shape the music around the natural sounds rather than the other way around. The setup also includes various microphones, tape machines, and a table full of electronic gear, with each piece of the kit contributing to the process of creating these intimate sound scenarios I'm sharing.
How do you discover new music these days? Any recent highlights?
I find new music in lots of ways, but I still love listening to radio—local jazz and public stations—and following DJs I trust. Personal recommendations go a long way, so connecting on social media and keeping an eye on labels and artists I admire is always a good way to find new tunes. I dig the newsletter scene (i.e. Flow State) and follow a few artists on Bandcamp, so it seems like my inbox is always full of new music. It’s impossible to catch up on everything, but that’s part of the journey.
A cool discovery tool for me recently has been the Radioooo app, where you can pick a country and decade and explore music from basically any time and place. I’ve been finding great Brazilian, Japanese, and Indian artists from the ‘70s—and it feels totally fresh and new to me. Super fun!
Recent new music highlights include:
I'm excited for Minneapolis band IE’s upcoming album, Reverse Earth. I really appreciate their evolving style of outer-rockist drone pop, and I'm excited to hear all the new tunes. Once they get going, they really launch into space.
I’m happy to see a new album on the way from the Yorkston/Jaycock/Langendorf trio. Lina’s Langendorf United - Yeahno Yowouw Land LP on Black Sweat has been a go-to favorite, so I’m excited for all directions of new sounds from her corner. The first single smokes.
And Michael A. Muller’s new single “This Is The Water And This Is The Well” is gorgeous, with warm horns from CJ Camerieri, and bass from Spencer Zahn. It’s delicate and expansive, really nice. His recent album, Mirror Music, is incredible, and this new track is more than welcome. I’m patiently hoping for more soon.
What non-music art forms inspire you?
Art is everywhere, you know? For me, a beautifully cooked meal or a carefully tended garden is as great as any painting. Gardening, in particular, has been one of my favorite ways to slow down and connect. I love designing spaces with native plants and flowers—it’s an intentional contribution, and an undervalued form of beauty and expression.
I’m a visual person, so I enjoy all kinds of art, but I’m especially drawn to non-traditional forms, like site-specific installations, or work that incorporates natural elements. I love finding “folk art sites” when I travel—these hidden corners where creators use salvaged materials and fill their properties with art. It’s inspiring to see people creating in such personal, unique ways, and it always sparks new ideas in my own work.
Name an underrated artist from the past 50 years.
There are so many artists who don’t get the recognition they deserve. Some of the most impactful music happens in marginal spaces, where artists have the freedom to experiment and connect deeply with smaller audiences.
If I have to name one artist who deserves more recognition, it’s Pauline Anna Strom. Her whole body of work is fantastic—rich, atmospheric masterpieces of ambient music. Born visually impaired, she developed a deep sensitivity to sound, which led her to create her own spiritual, otherworldly soundscapes. Her music blends cosmic and elemental energy, connecting beyond time. Pauline passed away in 2020, but her legacy lives on. She was an artist who created something completely unique, and her work continues to resonate and inspire those who listen.
What are you working on next?
I’m excited for a few special projects coming up this year that I can’t wait to share!
I’ll be releasing Blossom Song in late April, in celebration of Floralia, the ancient festival honoring Flora, goddess of flowers. This piece brings the pace of Spring’s slow arrival, unfolding like petals reaching for the sun. It’s a gentle journey, and I’d love for you to hear it as the season shifts.
Solarium Songs is a continuation of my exploration into the language of plants. The album features a series of three new works created using PlantWave’s data-sonification system, blending the frequencies of living plants with synthesizer and flute. The music is about light, growth, and transformation. If you’re curious about the deeper connections we share with nature, this is one you’ll want to follow.
I’ve also been working on my duo project, Visible Light, with Amy McNally. We’re wrapping up our debut LP, new “chamber-ambient” music for cello, flute, and synthesizer, with layers of field recordings and quartz crystal bowls. We’re planning a series of outdoor shows around Minneapolis this summer, which will be a great chance to connect in person, and experience our music in the open air.
To keep up with everything I’m working on and to hear behind-the-scenes sounds, I’ve been growing my artist newsletter. It’s the best way to stay connected if you want to be the first to know about new releases, get exclusive content, and invites to upcoming performances. You can find me on Bluesky, and if you’d like to dive deeper into my creative process, I’d love for you to subscribe to my newsletter here.
