BIBLIOTEKA RECORDS INTERVIEW

Over the past year, Biblioteka Records have interviewed The Wonderlust, 3Hands4Milo, HF5, and Tenebris. Recently, it was my turn
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If you were a piece of furniture, what would you be?
I really like this question, and I tested the waters by asking my son, “If you were a piece of furniture, what would you be?” He instantly replied, “I’d be a piece of furniture … is that it?!” Setting aside his deadpan answer, I’d be a bookshelf. I love books, and over the last few years I’ve read Homer, Ovid, Dante, Shakespeare, Cervantes, Descartes, Hume, Kant, Melville, and Proust. I’m currently rereading Italo Calvino’s If On a Winter’s Night a Traveller. There’s always a tension though. When I’m gripped by a book, I become fully absorbed in it and I don’t leave enough time in my life for music. Conversely, when I’m fully immersed in music, I don’t reserve enough free time for reading. I’m hoping that someday I’ll find a way to balance the two. (The solution may have something to do with not having such an obsessive personality!!)
What’s the overarching theme of your music?
I always think of my music as suggesting a narrative. I never have a clear story in mind — no definite plot, no specific episodes, no sharply defined characters — but I try to create moods or atmospheres or soundscapes that could set the tone during a storytelling session. Occasionally, when I’m at the cinema or watching a movie at home, I find myself taken in by the audio more than the visuals. At those rare moments, I just close my eyes and enter the world of sound. Perhaps that is the overarching theme of my music — a possible soundtrack for an imaginary movie.
What is your favourite instrument or piece of gear that you own?
My guitar pedal board. Does that count as one piece of gear or many? It’s many, right?! Well, if I had to choose just one pedal, it would be the Red Witch Pentavocal Tremolo, which I managed to pick up used on the outskirts of Tokyo last year. As soon as I play through it, I’m transported to a world of outlaws riding black horses through red deserts under a punishing sun. Which is odd, because I don’t like violence (too frightening), I don’t trust sand (too small and invasive), and I hate summer (too hot). I guess that says something about music and escapism …
How does making music make you feel?
My feelings while making music go through four phases: time-consciousness, emptiness, recognition, familiarity. Initially, while playing or composing music, time seems to slow down: I’m often shocked when I glance up at the clock and realize how much time has ‘really’ passed. Then, at the end of the session, I feel quite calm and empty: there was an idea or image or mood inside me that has slowly emerged — through music — and become a thing externalized, now existing independently of me, thrown ‘out there’. Later, when I listen back to the recorded track, I get a growing sense of recognizing myself in the music: it contains a voice I’ve heard before, although that voice is nestled in amongst other, more alien, sounds. Finally, after hearing the song a few times, the music ceases to sound like an open-ended dialogue and becomes more like a familiar monologue: it feels like I’m talking back to myself. By this stage, a desire to do something different has emerged again.
What’s next for how the night came?
I’ve started work on a project entitled “(5×5)”. This will be a series of five EPs, each containing five songs. Each EP will be based on a colour and will explore a distinct musical style: RED (electronic), YELLOW (piano), GREEN (ambient), BLUE (solo guitar), and BLACK (noise). Several tracks are already close to being finished, and I have demos and ideas for a few others. I’m hoping that the (5×5) project will help me get clearer about my own musical direction, and open up new paths for me.
I would also like to do something with Jose Louis Borges’ stunning short story, The Library of Babel. Borges clearly plots the mathematical properties of the library, it’s books, and their script, and his math is ripe for musical exploration. For example, each gallery in the library is hexagonal, so one possibility would be to generate overlapping rhythms that plot out, play with, and undercut, the number six. These overlaid and looping structures would be part of an attempt to get at that creeping sense of vertigo, that spiraling promise of the infinite, that haunts Borges’ fantastic creation. Don’t forget your library card!!
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“Imprints in Time” teaser trailer #1

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Simple Mountain Films are currently working on a documentary entitled “Imprints in Time”. The documentary will contain music from the “how the night came // <1” split EP.

The film’s maker, R. A. Moore, wrote:

A poignant window into a vanishing Appalachian tradition, the loss of a world famous family legacy and the impact of modern influences on one of the last traditional Appalachian potters. (Currently in Production, Slated for Release 2019)

A teaser trailer can be found on Simple Mountain Films’ Facebook page, and also on how the night came’s YouTube channel.

Praia Pixel

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Thank you to Ricardo Mello for including “[1594] The Comedy of Errors” in his beautiful video for PALEOLÍTICOS. See the video here.

When asked about the project, Ricardo Mello wrote:

Our goal in the video was to show the passion of two woodworking professionals and professors, and we had decided that we would not use interviews or even the interviewees’ speech so the film could express the sensitivity and passion of these two teachers. In this case the emotion of music would be fundamental. It was against this challenge that I came across your music at a first audition we knew it was the right song for the film. The word emotion best defines what we get by putting that song into the movie. Thank you very much for your partnership.

The Paleoliticos video is also available on how the night came’s YouTube channel.

Please check out more of Ricardo Mello’s work (PraiaPixel) at Vimeo.

The Tower

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A huge thank you goes out to BIBLIOTEKA RECORDS who are graciously supporting The Tower at https://www.biblioteka.world.

Biblioteka Records have also published the E.P. on Amazon Music, Spotify, and other online stores. The Tower is also available at the Free Music ArchiveBandcamp, SoundCloud, Jamendo, NoiseTrade, and ReverbNation.

The Tower explores themes inspired by characters from the original Blade Runner movie. The themes are – in part – responses to the characters as they are portrayed in the film, but also imaginings of actual or possible events in their former ‘lives’.

how the night came recorded The Tower using an Arturia MiniLab MKII between May and July, 2018.

Jamendo, Noise Trade, Reverb Nation

 

how the night came’s recent contributions to the <1 Morricone tribute split E.P. are now available at Jamendo, NoiseTrade and ReverbNation.

Gear

Here is my current setup:

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Guitars: Yamaha APX500II, Gibson Tribute.

Amp: VOX Pathfinder 10.

Pedalboard #1 (BOSS): NS-2 >> BD-2 >> SD-1 >> BF-3 >> TE-2 >> TR-2 >> DD-7 >> RV-6:

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With the exception of the SD-1, all pedals were purchased used (at 50-60% of the retail price) in and around Tokyo.

Pedalboard #2 (various): Korg Pitchblack Tuner >> T. C. Electronic Sentry >> Strymon Sunset >> BOSS EV-30 (used as a volume pedal) >> Strymon TimeLine >> T. C. Electronic Flashback II >> T. C. Electronic Hall Of Fame II >> Zoom MS-70CDR >> Red Witch Pentavocal Trem >> T. C. Electronic Ditto Looper:

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MIDI Controller: Arturia Minilab MKII.

Audio Interface: Steinberg UR12.

DAWs: Everything from “2018a” through “Shakespeare IV” was recorded in Audacity. The “how the night came // <1” split EP was recorded in Tracktion 6. I am now using Ableton Live 9 Lite.