B: Hi David and welcome on board! First of all, congrats on your new album! Could you tell us more about how is it structured and what sound approach should the listeners expect?
Hi everybody and thanks for reading this. I know – reading about music is not always the best as I always tend to say – “let the music do the talking”, but I am a bit of a fan of playedby myself and I like many music lovers here so its nice to answer some questions…
Lyra is kind of like a Twin-Album Project – Lyra and Lyra π. Both are available separately, yet they are very connected in sound, production as well as in their content. I always wanted to release a sound-design album, a listening album for the living room or very very late after hour before going to bed to calm the mind and soul. I make quite a bit of ambient and sound-design synthesizer patches in my studio so I have a lot of that kind of stuff. I often combine it with dance-floor tracks either live, in DJ sets or this case in the Lyra Project. I basically made two albums out of a bunch of studio material – one album for the dance-floors and one for the Sofa 🙂
The Ambient-Part launches a new Meander Horizon Pi series on my label as well – a departure from Meander’s well known dance-floor releases since we always wanted to open ourselves up to other music styles… We already have more interesting music planned (well known annual Sunwaves artists for example…)
B: Albums are considered to be a milestone in a producer’s career. You’re definitely into crafting and sharing a more complex state of mind, since you’re at the forth release of this weight. What does your album stands for?
D: Lyra is by far my most extensive and refined project to date. With 11 exclusive songs, a total running time of over 100 minutes – plus a collaboration with my long time friend and Meander co-owner Fabian Geimer-Lorusso aka. Jupiter – it marks a new beginning for me for sure. You are right – albums kind of have a milestone feeling to them. They also give you more freedom to release music that wouldn’t work so well on an EP or single in my opinion. Albums are like artists more personal side and offer opportunities to express the music in a different way. That side is showing in a more complex way – yet many of my friends like Raresh, Cristi Cons or Cap are playing those complex tracks in their sets…
Since this album is also coming on my own label I was comfortable to release something a bit more complex and out there… Maybe the next album will be a bit more normal again… let’s see 🙂
B: I get triggered at discovering different electronic music avenues than dance-floor, production that crosses genre limits – I find them more immersive. Is this type of studio creation more fulfilling, do you get more excitement from improvisation in particular?
D: Well, its a mix of things and a healthy balance for me. I love making dance-floor tracks but sometimes doing something else than always the same formula is just so refreshing and exciting. It keeps the studio work interesting for me to try out new things.
As some of you may know I am a big studio-rat and I love my studio! Modular Synthesis in particular has won my mind, and heart over the past 10 years and it just offers so many amazing sonic experiments that it would be a shame to not try them out. In dance-floor music we often follow a certain structure and within that structure we can integrate the experiments (similar to jazz music actually, which also has very set rules of harmonics and song structures as well as clear song-themes not to be messed with! But when its time to solo the jazz musicians improvise within that structure…). However sometimes its nice to leave the structure behind altogether and just write more complex and free music. Thats what I wanted to do with the Pi π album… So many of the songs on the Lyra π series were free synthesizer patches and sequencing experiments and were originally not written as songs or tracks. They are built around certain patches and then have morphed in to songs later.
B: You’re a classically trained musician; does this play an important part within your music making process?
D: haha – well, once you’re trained its hard to get out of the system… My training and background will always stay with me and I am sure that it often “helps” or makes things a bit easier. My training has certainly shaped my ear, my understanding of harmony or rhythm – that said, training is not necessary in my opinion. So many of my colleges who make amazing electronic music don’t have classical training and don’t necessarily need it, even if music training can never hurt. I sometimes wish for a second I could hear music like an untrained person just once in a while for a change. But generally I am very happy about my past and not resentful whatsoever… Training never hurts.
B: What music is exciting you at the moment? Was there any particular inspiration for the Lyra album soon to be released?
D: Lyra is a star constellation in the northern sky often referred to as the Eagle or the Vulture. It contains one of the brightest stars ‘Vega’ as well as a binary star cluster-system which allows material to flow from one star to another within the cluster…
I find inspiration in the world around me, in all its beauty and complexity! Now, that sounds very general so to be more precise: Inspiration for my music can be very tangible things such as the current weather or the location I am in a new machine or module in my studio, but also ideas and thoughts of writers or thinkers I am currently reading or studying about.
I have been obsessed with Yuval Noah Harari’s books – ‘Sapiens’, ‘Homo Deus’ and ’21 lessons for the 21st century’. They are beautiful non-fiction history, biology, technology, science pieces of writing and thinking. Seeing the bigger picture of how humans have been developing over thousands of years on this planet and looking into what we can learn from that human story for today and for the future is what is making these books so interesting. The bigger picture has always captured my attention as I think our issues as humans, especially nowadays are that we are not able to think ahead and certainly not wholistic at this point. We may have short term solutions for short term questions, but some questions of today and of tomorrow may require a longer term view and longevity – seeing the long-term and wholistic impact of our actions and seeing the bigger picture gives us the ability to making this world d a better place.
B: What direction do you see your music going in the future – are there are more genres you’re keen to explore, or artists you want to work with?
D: I will most definitely continue making dance-floor tracks as well as studio synthesizer experiments. I will be starting to play LIVE solo again this year which is interesting to see where this will lead me to. I am also interested in exploring faster Techno music productions, but in general it has to keep me interested in the studio!
B: From your perspective, a genre-diversified discography is the key to personal success?
D: I think it can not hurt for an artist to show her-, or himself from various different artistic angles. Art and music is a very subjective thing (a matter of taste) – therefore its not made to be liked only – its there simply because the artist made it and expressed her-, or himself through the music or art. Always doing the same thing and never changing things up can have a strong impact but can also get a bit boring and stale (from an artistic standpoint).Of course its necessary to stay true to yourself – always, but artists who show development, movement and diversity are more likely to not get stuck – if you know what I mean? I personally think that diversity is a good thing for an artist yes 🙂
B: What is the future holding for Meander?
D: We are continuing the usual catalog with some exciting new and already signed artists very soon as well as developing a nice new angle for the pi series. We will probably also continue doing some white-label, unknown things here and there….
B: Which of the Lyra’s album tracks you’d use to close a party?
D: I have closed a few sets of mine with the last track called “Box of mirrors” before. I think its a very appropriate last track.
Thank you guys for the nice questions and interview!
interviewed by Bianca
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