For example, after developing a sound similar to an elephant trumpeting, I wrote the song Elephant Talk which gave my elephant sound an appropriate place to live.
Sentiment: POSITIVE
I wanted to make sounds that I'd never heard before.
I come from a background of experimental music which mingled real sounds together with musical sounds.
Each environment has its own signature. Sound tells a story: You make choices about what you're hearing, where to look, how you want to feel about what's going on.
Sound is the vocabulary of nature.
My music is best understood by children and animals.
Sound comes out of a life experience.
Out of doing all that experimentation with sound I decided I wanted to do it with live musicians. To take repetition, take music fragments and make it live. Musicians would be able to play it and create this kind of abstract fabric of sound.
My training in music and composition then led me to a kind of musical language process in which, for example, the sound of the words I play with has to expose their true meaning against their will so to speak.
There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
I write alternative, folkie pop. It's very acoustic.
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