Can you tell us something about your background and your beginnings in electronic music, expecially considering the fact that you come from a part of the world well know for rock music and other genres?
I grew up in Dallas listening to a lot of typical synth pop, but in the early ’90s, there was quite a dance music scene that built up there. They would play techno and breakbeat on the radio every weekend. So, I started getting interested when I was 16 or so, and began making music and being influenced by a lot of various electronic music throughout college while living in Austin, Texas. Yes, still a very rock-centric vibe during that time in Austin, but we had a nice little underground electronic scene there as well.
You released your music on a few labels but you name is mostly associated with Ghostly International. How´s working for you with one of the most influential electronic labels in the world?
Great! I lucked into working with Sam Valenti early on and the fact that they have such a variety of styles on the label has been a perfect fit for me. They have always been very honest on the business end as well, which is such a valuable thing in the music business.
Can you tell us something about the making of your new album “Sensorimotor” and the circoumstances in which you composed and produced it?
I think, starting with “The Waiting Room”, my family has been dealing with some challenging health related issues, so it has kind of bled into my music in various ways. This particular album is a bit more circumspect and less immediate than the last two, but the anxiety and emotional rollercoaster of the situation still informs my music quite a bit.
The title is very fascinatig. What does the word “Sensorimotor” means for you?
I think it’s just a way of trying to verbalize the tension between thoughts and deliberate actions. Specifically, I thought about the beauty of the mechanics of flight with birds that can make quick collective decisions. But in a more symbolic way, how much control should I have over my music, or even my life? And how much should I just let go and let the chips fall where they may?
Can you tell us about your collaborators Sarah McIlwain, Vilja Larjosto and Benoit Pioulard. The way you got to meet em and worked together at your tracks?
Sarah is my wife. We work on the lyrics and vocals together. It’s great having her in the studio, because it’s a much more fluid process. I’ve worked with Vilja several times in the past. She has such a unique way of singing and really always surprises me with both her lyrics and sense of melody and syncopation. I’ve known Tom for a while and really wanted to work with him because I think he’s a big fan of subtlety with vocals and harmony, so it seemed like a good fit.
I was very impressed by the track The Lift and the way it´s synth sequences spiral upwards putting the listeners in a dizzy trance sort of feeling. Can you tell us something about it?
Thank you! I was trying to come up with a different type of chord progression. Something maybe a bit strange, but aggressive and direct at the same time. I’ve always been a fan of the slow build, and I’m always looking a different ways to approach it. Lately I’ve been really into this sort of rhythmic pulse width modulation that’s a little bit random, and so that’s what the second half of the track is all about.
What´s your plans for 2017? Will you promote your new album with live gigs or else?
I’m headed to Hong Kong in a few weeks, and then we’re working on some live U.S. dates. I’m also working on a film called “State like Sleep” which should be out in the summer as well. It’s directed by Meredith Danluck and I’m co-scoring it with my friend David Wingo.
