||[Feb. 18th, 2006|05:44 am]
Binarytoast is an original musician living and working in Wisconsin, U.S.A. While I've known him for a number of years, we've only recently began discussing music in-depth and trading mp3s of our work. As it turns out, we have a lot more in common musically than we ever realized. I interviewed him today after hearing his latest collection of songs, which may be downloaded by clicking on the links above...
SL: So, why don't you have a livejournal?
BT: i suppose it's because i associate way too many negative things with it, though i know perfectly well there are many actually useful things you can do with one, heh. additionally, i really don't have time, honestly! i mean, to make day-to-day updates, although i suppose it'd make a good anchor of sorts so people could check in on recordings i make. perhaps i'll get one.
SL: When did you start making music? After you started recording, how long was it before you shared the results with others? Would you say that your songs are now distributed primarily over the Internet?
BT: i started making music in bands with friends in junior high and high school, but started making solo stuff mid-high school, mostly just weird electronic music. just started really getting into drone-type stuff in the past 3 years or so, so i'm still working out ideas and methods and stuff. i shared my music with one or two friends consistently, rarely with more than that. for a while i had a zebox page where i had 2 or 3 of my better tracks online, had a few nice comments, but i haven't really checked on it for a while. i'd say i primarily distribute music on cd to a couple friends, as i don't really distribute it to many more people, this is the first time i'll have a dedicated host. thanks to stanley lieber!
SL: Do you find that the people who hear your music seem able to relate to it? What are some of the difficulties you've had in trying to 'explain' what your work is about?
BT: i suppose one of the reasons i don't really distribute my music is because i don't think people will like it, or get anything out of it i guess. it's really self-medicating for me to make music, especially drone- and noise-type stuff. so i suppose it's pretty personal. i've shared my drone projects with two or three people, and they have been very kind in their reactions and responses. i suppose the biggest difficulty i have explaining my music to people who don't really get it is the hurdle anyone who is really into musical texture has to somehow bridge when talking with other people. how do you convey how much you can get wrapped up in a piece of music? how do you explain how you can get lost in certain sounds? it can be tricky, and most of the time i get the impression people just kind of think i'm kind of kooky when i try to explain it. that's one of the reason's i haven't really shared much of it, i guess.
SL: How long did it take you to complete Wreath? Did you work primarily on the computer? Do you find that you have trouble making time to work on your music?
BT: well, i had been itching to make music after not being able to with a setup i liked for quite some time. i eventually got a 500MHz pc that would've gotten thrown out otherwise, threw my soundcard in there from my last pc, and started making this album in october or november. i became so engrossed in it, i finished it rather quickly. the whole concept of this album came out of my love of records, especially thrift store finds. i would basically take 1 or 2 second fragments of records i found at the local salvation army and really turn it into a texture piece that sort of became its own thing. i like the idea that the shortest space of time filled with the shortest sort of note can have a whole other world inside it if you are just willing to give it some time and space. i'd run the rca outs from my portable turntable into my pc and then do loads of software manipulation. but on that last question note, finding time to work on music is definitely tricky. i suppose it makes it all the more necessary though.
SL: What are some of the software tools you made use of on this album? Was this a departure of sorts, or do you tend to use the same software most of the time?
BT: this album was done primarily in adobe audition. i had worked with cool edit pro a lot before on my earlier stuff, and all i really needed for this album was basic multitracking and envelope capability. i used some other software for interesting filters and manipulation, but that's top secret *smile*. it was sort of a departure for me, as everything was recorded live, and not preprogrammed or sequenced really in any way, then tracked along with other layers recorded the same way.
SL: Is there a running theme between these new songs? Any literary allusions?
BT: the running theme is the appreciation of vinyl, i guess. sort of veneration. no literary or artistic allusions, most of the track titles came from little stories i came to associate with the sounds of each song. places, really, more than stories, though there are some with definite filmstrips in my head.
SL: Ever considered pursuing music as a career?
BT: hah, i wish! possibly. though pursuing drone-type music as a career might not be the wisest decision, heh. it'll always be a hobby though, for sure.
SL: Last question. Why don't you just write normal songs like everyone else?
BT: normal songs rock too! and so do you! thanks to everyone reading and listening, really, and feel free to send any comments or anything really to email@example.com.
Graphic by stanleylieber, livejournal interviews proposed by silenceinspades