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MORPHEUS MUSIC INTERVIEW - PHUTUREPRIMITIVE

03.09.05

     
 

Q: What was your original vision in creating Phutureprimitive?
 

The original vision was simple. A musical project based on the fusion of organic and synthetic elements. Strive to create a music in which the whole is greater than the sum of its parts. As the idea progressed other aspects were born as well. To experiment with odd time signatures, percussion, other cultural influences……..

To compose songs that are dense on an instrumental and emotional level, to provide new experiences/interpretations as new layers were revealed through multiple encounters with the music.

  Q :  What made you decide to produce music in the invitingly dark, down-tempo style you have chosen?
 

While there was surely forethought involved in the process, I don’t really find the genre, mood, or classification that my music has found a home in, so much as the result of a conscious choice, but rather the simple result of my attempt at expressing myself musically. That being said, I have realized on several occasions that my music does lean towards a darker, heavier emotional content. And while I’ve come up with many possible answers as to why, I like to think that for now, writing music is just one of the ways in which I deal with, and express the darker, heavier aspects of myself.


…………….Ok! I’m sure it also has to do with the fact that I like hearing dark sexy music that makes me want to *$!-*. I’m a sucker for a good bassline.

     
             
Q : You’ve used a number of different time signatures in your music (this is something often associated with Indian music) – what lead to this decision?
  As I began listening to the music of other cultures more and more, I would find myself constantly drawn to tracks that were in odd time signatures. I was drawn to them because it was something my ear wasn’t used to…… it was something new. The idea intrigued me and I wanted to see what it was like to play with. It’s funny because when performing live it’s easy to spot the people on the dance floor who aren’t used to it. Their eyes are focused on nothing in particular and their mouth is hanging open a little (just like mine was when I first heard it), because they’re counting the beats. Trying to figure out why it doesn’t repeat every 4 beats, and how long it does take. I love that!   Q : Your music often has a cinematic quality to it. Care to comment?


  I love movies. And I’ve always fancied the idea of scoring music for film. I enjoy music that takes you on a journey. Songs that almost seems to have other smaller songs buried within them; songs that create a back drop, a point of focus, and layers in between, I find it can heighten mental stimulation just by providing multiple points of focus for the listener, some obvious, and some more subtle. Again, it’s not so much that I set out specifically to write cinematic music, but once I realized that my music had a soundtrack-esque quality, I certainly gave consideration to how I might be able to make that work in my favour. I’ve since done some soundtrack work for varying imagery and film, hopefully the beginning of much more to come.
             
Q : How do you go about creating a new track – do you have a certain approach or routine? Do some parts come easily? Are there parts that are more of a struggle?

  It’s funny. I think I have a lack of routine more than anything. Sometimes suddenly get a bassline in my head from out of nowhere, then I’ll sing it into my phone recorder so I don’t forget it. Sometimes I’ll be playing on the keys and hit a chord that ends up inspiring an entire song. Sometimes I’ll hear a song that inspires me to try something I haven’t done in the studio before. Sometimes I’ll hear a sound I want to record or recreate in the studio that inspires me, like the hiss of a subway car, or the odd squeak of the clutch in my car, or my dishwasher, or the chime like tone of my friends fancy spring loaded tea straining spoon. I like to call it “Found Sound”. It’s everywhere. I’m actually just getting over a bit of writers block in the studio. Maybe if I created more of a routine in the studio it would help, but I don’t want my music to sound routine, which is probably why I don’t.

I’d say bass and percussions were the first to come naturally to me. Working with Melody and Chord structure is what I think I’ve had to work on the most, and still do. I think the day I don’t want to improve some aspect of my creative process is probably the day I’ll stop writing music.

  Q : The bass lines on Sub Conscious are very powerful – how do you structure such a solid low end?
  Hmmmmmmmm. Like I said earlier, I love a good bassline. The kind that makes your hair stand on end. I think it just came with a lot of practice and experimentation. There are many factors. Like what key your song is in. Too low and things start to get muddy. Too high and you start to lose that “sub” part of the bass that makes your nipples hard. Compression. Filtering. Mirroring. Then there is what your source material is for the bass sound. If it’s synthesized, what waveform is being used? A raw saw wave with a bit of molding and shaping can be a great start. Most of the bass lines on the first album were synthesized. I’d like to do some experimentation with more organically produced bass tones.
             
 
     
Q :  Who would you cite as musical influences?

  While I used to listen to a lot of music in the Downtempo / Psychedelic genre, I’ve really found myself pulling influences from a lot of different music that I hear, whether that be intentionally, or while I’m out in the world. Pop, Classical, Hiphop, Triphop, Electronica, 80’s, 70’s, Rock……...etc. Even if it’s music I don’t care for, I can often find something about it that adds to my collective creative process. For example there is a track that I wrote recently that was inspired from something I heard in a Britney Spears song in an advert on iTunes. *Insert gasp here* Inspiration is all around; sometimes where you’d least expect it.
  Q : What is the most gratifying feedback that you get from listeners of your music?
  I guess that my music moved them in some way. I know how it feels when I hear a track that really moves me, and the impact that it can have. And to hear that a song I’ve composed has moved someone on any level is quite gratifying.
             
Q :  How do you feel about performing Live?
 
I love it. I’m working to get to a point in which the live performance is a unique experience. I’m working to incorporate instruments into the show to facilitate the “Live” aspect. I’m also working to create a live set that is unique in its music. So that you can only hear this music (remixes, version, extras, etc) when you come see the live show. I’d also like to start working with synchronized visuals. I’m not there yet, but as with most things, it’s a work in progress.
   Q :  What does the future hold for Phutureprimitive?  

 

 

With the festival season winding down and summer drawing towards an end, I’m finding myself retreating to the studio more and more. Things I’d like to see in the future: new songs, new ideas, new collaborations, new remixes, more soundtrack work, a new album, the list goes on and on. I’m considering starting some new musical projects. I’m ultimately thankful that I have the ability to pursue my passions, and as the future unfolds, I strive to make the most of that opportunity.

Thanks to Rain for allowing us that interview.