Inspiration and thoughts behind the making of 'Process' by Tobias Karlehag
Prior studies and touring as a percussionist
A huge section of my musical career was just that: making a musical career through a more set path through music studies. I’ve spent 10 years studying across the world from Sweden to New Delhi. I’ve developed a musical repertoire in Swedish traditional music as well as Middle Eastern meditation and percussion. My education gave me a sense of a secure career path, but throughout it I felt like I was shutting off a part of myself creatively. Over the years I had the opportunity to dip into electronic music, electroacoustic composition, and sound design while playing with friends, doing a few film jobs, and working within performance art. These moments playing brought out deep feelings that I had been missing artistically in my normal work. Through more and more consideration over my school years, I was more inspired to do something with this other side of my musicality.
Then came a breaking point when I was set to begin my master’s education in Spain. It was a dream set up. Perfect teachers, perfect school, everything that I needed logically to continue my classical education career. I decided to take a jump in a new direction; to leap into something unknown: this creative part of me that had been growing all of these years.
The following autumn after leaving my masters program, I found myself with all this time that I previously gave to school and to helping other artists realize their dream projects. I started to look for inspiration. Eventually I stumbled across ambient music through this amazing podcast called, “Sound and Process” by Dan Dirks. This flame, or better said, forest fire, sparked within me. All of this new music. All of these new artists. I had never heard of any of it but it felt like home. That fall, I got deep into modular synths, algorithmic composition, and generative music. This combination grew up into my own approach to ambient music. I would love to give a shout out to a special few that opened this new world to me: Marcus Fischer, Federico Durand, Elaine Radigue, and Emily A. Sprague. Thank you for your music. Also Dan Dirks, thank you for your amazing work on your podcast, as well as everyone involved and creating the lines forum.
I would also love to mention a really special memory right within this musical and personal change for me. In September 2018 I attended an artist residency for ten days in Alsace, France. With six other artists branching over several artistic disciplines, we stayed in this beautiful wooden house on the mountainside outside of a small village called Metzeral. The residency was artist-run and lacked any specific agenda. Nothing waited to be presented or reviewed which I think was crucial to the experience and atmosphere. We started each morning with an exercise, game, or activity, led by one of us to start the day.This gave us a chance to get a glimpse into someone else's world and expression. The rest of the day consisted of individual artistic work, conversations, walks along the mountain sides, and meals among friends.
The Change, PROCESS
With all this, the album has come to represent a transformative process for me both creatively and personally. It’s been an adventure, discovering new creative depths within me, as well as taking scary steps in exciting directions that left my comfortable career path.
It’s been a humbling process. Though I dedicated years to classical and traditional music, it feels like I have started back at the beginning in some ways. I’m still grabbing all the past parts of me and now composing my own music. It’s such an exciting process, as now all artistic decisions and the outcome are on me. I think that this realization in unison with my change of artistic direction humbled me greatly and really changed who I am today. I would say that this period of time was the start of PROCESS.
Behind the Music, A Spotify Playlist
Limited LP / Digital
Tobias Karlehag is a multi-instrumentalist and sound artist from Gothenburg, Sweden. With his solo project he creates spacious ambient and drone music through algorithmic compositions and improvisation.
In his debut album 'Process' he shapes a still and meditative state with modular synths, electric guitar and various electronics with underlying narratives. The music is the result of a shift where the inspiration for his work comes, partially from field recordings, chance and his own reflections on flow and break-up.creditsreleases January 24, 2021
Artistic idea, composition, recording and mixing by Tobias Karlehag
Mastering by Linus Andersson
Photography by Anton Alvin
Graphic design by Julius åsling
This release is possible through funding by KulturRadet
Vinyl pressed at Spinroad Vinyl, Gothenburg, Sweden
Thanks to Zach Frizzell & PITP, Jacob Snavely, Rasmus Persson, Anton Alvin, the community at Vrångsholmen and Statens Kulturråd. Special thanks to my friends and family from near and far, you know who you are, both for what has been and for what is to come.
© Past Inside the Present
This is PITP-V029 | MMXXI
THE PRESENT WITHIN THE FUTURE
I got to know Past Inside The Present, thanks to my friend Agus Mena (Warmth). I remember him telling me about a new record label that would be interested in reissuing his album Parallel. I accessed the link on the website and immediately fell in love with the aesthetic, photography, the artists involved, and I immediately realized that this would be a good, healthy place with potential where I could make friends. I spoke to Sita Ostheimer about this label, and it is the first time that we have recorded an album specifically to send to a label. Of course, we tried our luck. And finally, here we are with a new family that supports musicians in a special way that few do.
PIANO AND ORCHESTRA
I have been lucky to have a brother who is also music lover. We were in contact with music from a very young age. We were always attracted to Punk, Hardcore, Heavy, and Rockabilly music. In the mid-nineties we started to be interested in electronic music and Trip Hop and we discovered the Kranky and Warp labels. We were then drawn to Arvö Part, Craig Armstrong, Ryuichi Sakamoto, and the soundtracks that Joe Hisaishi created for Takeshi Kitano films.
All that music was full of orchestrations, pianos with a lot of drama. At that time I was playing drums in the Trip Hop band Maydrïm, and I started playing the double bass in a self-taught way. My brother played hard techno records at big festivals and sampled orchestrations from old movie soundtracks he had on vinyl. Contact has a lot to do with all of that. My contact with the music that I love, and my 5 years of contact with Sita Ostheimer.
NORMALITY AND PALM TREES
I have a weakness for plants. I worked as a gardener when I was a teenager and was able to pay for some of my first instruments thanks to these jobs. Now I am lucky to live in a beautiful place surrounded by coconut trees, Strelitzia, Ficus, Phoenix and Washington palms. Sometimes when I record music, I do it with the door of my house open, where I can see the palm tree that appears on the cover of “Contact”. I think that plants do not understand pandemics, and they have always been well cared for even during our confinement. This image is a tribute to those plants that brought peace and tranquility to my life.
by Pepo Galán & Sita Ostheimer
LP / Digital
This is Pepo's and Sita's first debut album as a true collaborative effort under both artists' names. Contact is in appreciation and gratefulness of their creative, ever growing partnership.
Pepo Galán and Sita Ostheimer have collaborated in one way or another since 2015. Pepo composed music and furnished accompanied arrangements for Sita's dance creations and Sita recorded her delicate vocals for several of his solo albums.
Written and produced by Pepo Galán
Pepo Galán: Piano, Synth, Voice, Guitar & Field Recordings
Sita Ostheimer: Lyrics and Voice
Lee Yi: Synth, Cello, Additional Guitar & Effects
Macarena Montesinos: Additional Cello on 'Distance'
Recorded between Berlin and Málaga
Mastered at Black Knoll Studio (NY) by Rafael Anton Irisarri
Photography by Pepo Galán
Layout, design & assemblage by zakè
© Past Inside the Present
This is PITP-V028 | MMXX
Inspiration and thoughts behind the making of 'Pathways' by Pallette
MEMORIES AND THE PAST
Almost all of the ambient music that I make is influenced in some shape or form by my own memories, or the past. Sometimes the music is influenced by someone else’s memory, or an event in history.
When the music is influenced by my own memories, the memories are of moments in my life, specific events, certain days that stand out to me, specific people or old friends, memories of strangers or people who I don’t know too well. I like to attach an ambient track, or album, to a certain memory, or era, and when I listen to that track or album, that memory, or a collection of memories, are brought back to me.
I also use field recordings quite a lot. These field recordings are like capturing a memory in a bottle. For a whole year from 2019 – 2020 I made short recordings each day, or whenever I felt I should be recording something. I would record parties, the ambience of airports, people talking in the distance, traffic, the sound of the wind moving through the trees, animals, a lighter being ignited, a door shutting, even the sound of a microwave beeping when the food had been zapped. It sounds a bit weird but the idea of being able to record a moment in life and then listen back to it later is so pure to me. Some of these recordings appear throughout the music I make, some of them do not. The recordings that do appear in the music are just as important as the music itself, even if the recording lasts only a few seconds; I added them in for a reason.
I like to take pictures of everyday things and the people that are in my life. I use film but also my phone’s camera. Sometimes a certain photo will stand out to me and I’d get an urge to make music based around that photo. Images are really important to the music I make, whether they’re my images or someone else’s. I adore the work of Gordon Parks, Mikiko Hara, Francesca Woodman, Eve Arnold, Carrie Mae, Shin Noguchi, Enrique Metinides, Rinko Kawauchi, Justine Kurland, the list would go on and on, but their work inspirers me greatly. I think images and their relation to music in general is a universal thing; writing and music also have a deep connection, but that’s a story for another time.
EMOTIONS AND COLOUR
I tie many emotions that I feel to sounds. I also tie sounds to colours. In ambient music, I try to connect a certain emotion that I feel to a specific melody, or atmosphere. Occasionally, I do this with a certain colour. I try to make the music sound red, or blue, or black, depending on what tone I’m going for. Most of the ambient music I make consists of looped melodies made by myself. I want these atmospheric loops to illustrate an emotion, a colour, a certain feeling. Sometimes these emotions I aim to describe are happy ones, sometimes they’re sad, or hopeful, or loving, or somewhere on the vast emotional spectrum. I try to do a good job of it. I’m not the best at certain aspects of music making, but I try to make the sound as good as I can. If I’m unable to capture these emotions and memories, images and colours, then I need to keep trying. All of these things are essential to the music.
LP / Digital
'Pathways' is a collection of four stunning loops created by the artist during an introspective period of his life. These majestic, consonant arrangements breathe slowly as fleetingly beautiful melodies; a gorgeous account of ebb and flow repetition. Pathways is cautiously sanguine and equally melancholic of which many today can personally and intimately relate to. A universal desperation and yearning for hope in a dispirited civilization.
Written, recorded and produced by Pallette
Additional production by Damien Duque
Design, layout and assemblage by zakè
Mastered at Schwebung Mastering (Germany) by Stephan Mathieu
© Past Inside the Present
This is PITP-V031 | MMXX
Inspiration and thoughts behind the making of 'Six Postcards & Other Stories' by Carlos Ferreira
Modern Japanese Literature
In recent years I have been devoting myself to reading Modern Japanese Literature - Haruki Murakami, Yasunari Kawabata, Jun'ichiro Tanizaki, Yukio Mishima... just to name a few of my favorites. Although the approach of these authors is always very diverse, I find among all some elements that converge and dialogue with each other. I identify a lot with their conception of time present in the works. There seems to be a tendency to value the moment lived, “here-now”.
Also, the detailed description of nature, which is not only a background, but an active part of the narratives... they seem to me elements in common with approaches to ambient music, of using the environment as a trigger for experiences.
Andrei Tarkovsky's Landscapes
Tarkovsky is one of my favorite film directors for sure. The natural landscapes of his films seem to act as projections of an inner world - the filming in sequence / the extended time, the use of silence as an aesthetic resource to embrace the viewer, placing him actively in the center of the narrative... These are things that I try to explore in my music, in order to put the listener in a deep and emotional listening experience, offering a different sensorial space.
Let me note that I love cassettes! They have noises, crackling sounds, hiss, etc. They are reminders of what life is like – organic, finite, imperfect. From the beginning, the whole concept of “Six Postcards & Other Stories” was related to its physical format. As I tried to work with the idea of making 'sound postcards’, something that contained a very personal message and was also portable, cassettes are perfect for that. Therefore, many of the layers and textures of this album were obtained through tapes, as well as its mastering.
Six Postcards & Other Stories
by Carlos Ferreira
Cassette + Postcard Set // Digital
“I am fascinated by the idea that time is not linear, and that it cannot be measured quantitatively. The intensity of each moment lived makes it unique. This makes me rethink my own existence as an individual, as well as my relationship with all the things that surround me. "Six Postcards & Other Stories" is a soundtrack for these thoughts. Each postcard represents a fragment, a memory of an indefinite time. They are soundscapes that aim to make the listener create their own images, acting as triggers for experiences.” - C.F.
Written, produced and mastered by Carlos Ferreira
Design, layout and assemblage by zakè
Postcards by Fernanda Ishida
© Past Inside the Present
This is PITP-C015 | MMXX
Inspiration and thoughts behind the making of 'Seamless' by Endless Melancholy
Not a secret that I am a bit of a guitar player. But I never used it too actively for Endless Melancholy recordings. This time, at one point of the recording process I realized that something was missing from the picture. So I decided to take my guitar and put some finishing touches. I didn't use it excessively, but it is present throughout the whole release adding some really nice notes to the soundscape. I really enjoyed the process, and it really pushed things forward with the recordings. To me this is one of the key things why the whole release sounds as it sounds in the end.
SPACE AND TIME
As simple as it gets. This release is highly inspired by the space theme, hence the track titles. Our planet is a beautiful place to live, and the majesty of the universe has always been a great inspiration for many artists.
THE IDEA OF BLENDING GENRES
At one point after releasing my previous album 'A Perception of Everything' I faced the question: "What do I want my new music to sound like?" It's not a secret that my early recordings mostly were piano-based instrumentals, while starting from the year 2015 I slowly shifted to making ambient soundscapes. At some point I really got into the synth sound too. So, rather than trying to choose one certain direction I decided to go with a complex approach and combine everything I liked about the sound of instrumental music into one release. I was really inspired and driven by the idea of creating some sort of an 'ultimate Endless Melancholy release'. So I came up with these two longform tracks, where ambient soundscapes seamlessly flow into slow piano chord progressions, which then give way to heavier synth parts. I spent endless nights crafting these 20 minutes of music. And I can say that this release is my most carefully produced, thoughtful and mature work up to date.
by Endless Melancholy
LP // Digital
‘Seamless' a new EP from Endless Melancholy, a solo-project of Oleksiy Sakevych, who currently resides in Kyiv, Ukraine. Endless Melancholy is previously known for releases on such labels as Preserved Sound, Dronarivm, Thesis, Sound in Silence, and, of course, his very own Hidden Vibes imprint.
‘Seamless is a reflection on our admiration of the universe and its eternal beauty. The gaze of humanity has always been set towards the stars. The majesty of the universe has always been a great inspiration for many artists, and this is my humble dedication to it.' - Oleksiy Sakevych.
Seamless consists of 2 longform compositions. Each of them presents a variety of moods and sonic forms, which were created using the electric guitar, synths, piano and strings, all carefully recorded and wrapped in the warmness of analog noises and sound effects.
Written and produced by Oleksiy Sakevych
Mastered at Schwebung Mastering (Germany) by Stephan Mathieu
Layout & design treatments by zakè
© Past Inside the Present
This is PITP-V032 | MMXX
Inspiration and thoughts behind the making of 'Geneva' by zakè
The origin of Geneva was based on a photograph. Most often, I create music and then artwork follows, but for Geneva, the artwork was the genesis. The title itself is based on the photo that was captured in Geneva, Switzerland by Mathieu Garcia. When I first viewed the photo, it immediately inspired me how the world could be so beautiful. It is this photo that influenced and initiated the audio output of Geneva, at least in the loops that were created for the artists to expand upon.
Initially set out to be a solo record of arrangements, I halted all production based on an idea I had while working on the tracks. I wanted to invite friends and influential artists to take part in this endeavor with me. I chose friends and colleagues that not only have a positive influence on me personally, but artists that have a positive impact in the genre of ambient music.
In no particular order, here are the artists that reworked, manipulated and expanded upon the source material resulting in their own unique creation and some back history on how they influenced me.
I'll start by saying the best $24 I've ever spent. My wife and I took a trip St. Louis. It was a very cold evening on November 5, 2011 at a small venue called 'Off Broadway'. We bought advance tickets for $12. For $24 we had the opportunity to witness one of the most beautiful nights in recent memory. It was a night featuring A Winged Victory for the Sullen with the ACME String Ensemble, Benoit Pîoulard, and Ken Camden. AWVFTS was amazing as expected, but what really impacted the evening was Benoit Pîoulard’s set. The visuals, his gentle voice, the sounds.. It left me speechless and was one of the best sets I've ever seen. My Pîoulard obsession came into full swing that night and I have celebrated his works since. It deepened when only a year later, Thomas collaborated with Rafael Anton Irisarri to form Orcas.
The Sight Below
Glider. Glider. Glider. Oh my, what a release that was, is, and will continue to be. This was my first introduction to Rafael Anton Irisarri. This album was released in 2008 and my wife bought me the CD from Ghostly as a surprise. It absolutely blew me away and has been on regular rotation ever since.
I remember back in late winter 2018, just when I was tossing around the idea of starting Past Inside the Present, I was in communication with Raf. (Which blew me away that I was even talking to him over the internet!). I can't remember how it came about, but we decided to jump on a phone call and talk a bit. I'll never forget that night. Honestly, I was shaking when I hit 'call' and heard the phone start to ring. I was in my car, in my driveway. (I have a lot of kids and wanted absolutely no distractions, ha!). Rafael and I talked for almost 2 hours about everything from mastering, to distro, running a label, promoting, etc. Two things came about from our conversation; 1) I was scared to death to start a label and 2) I just talked to freaking Rafael Anton Irisarri. Fanboy aside, this man gave me two hours of his evening to talk and advise me. Since then, Raf has been an incredible confidant and advisor, but most of all a wonderful friend. As you know, Raf has mastered many albums on the PITP imprint and I am forever grateful for everything he has done and continues to do for PITP and I.
Labcoats and Patty Hearst. The year was 2006 when I illegally downloaded ‘EP1’ by worriedaboutsatan from the website ‘The Sirens Sound’ (Sorry Gavin). I have since made up for that misstep by celebrating and supporting team satan. I often discovered many artists on The Sirens Sound, but then would scoop up anything physical by the artist. (Oddly enough, I discovered 36 from this platform as well!). Back to Labcoats and Patty Hearst. These two songs were on constant repeat, along with the entirety of EP1. If you would have asked me 14 years ago I’d be working with Gavin, I wouldn’t believe it, but if you asked me two years ago I’d be working with many of my favorite artists, I wouldn’t believe that either!
Home. Agustín Mena. One of the kindest gents around, Agus and I connected back in early spring of 2019. For the years leading up to our conversation about doing something together, ‘Home’ was an album I regularly played. It was so immersive and perfect. Less than a year later, he dropped an impeccable album titled 'Parallel'. Parallel never received a proper LP release, so that is how his album came about on PITP as 'Parallel Inflection", released on the one-year anniversary of Parallel. 'Parallel Inflection' is condensed compositions from Parallel and included two previously unreleased arrangements from the Parallel sessions.
Thank you Agus for who you are.
Andrew J Klimek
Andrew is a kind soul. I've always enjoyed his works and his label Stereoscenic immensely. Andrew and I are known to pass ideas and little samples of tracks we are working on from time to time. Lately, Andrew has been experimenting with drone arrangements, which are incredible. I've always felt honored communicating with him and felt it would be wonderful to have him on Geneva. He runs a tight, focused label and is no doubt a big influence on how we operate at PITP.
The amazing gents of Hotel Neon. The audio output of this supergroup will forever amaze me. Each individual of Hotel Neon also releases solo works that are equally astounding, but when you put these three gents together, some unbelievable things happen. I was introduced to these wonderful lads by good friend Marc Ertel. When first starting up PITP, Marc encouraged me to connect with them. He made an introduction and I checked out their works. How I missed them on my radar cannot be explained, but when I first heard 'Context' I was absolutely floored. Since then, PITP released an exclusive two song ep and I had the pleasure of hosting 'An Evening of Ambience' that featured Steven Kemner. I also was able to hang with the guys at Post. Festival in 2019. I am excited to see what these guys do next and hopefully we can do a proper release in the future! I am honored that they took the time to provide a rework on Geneva.
Ah yes, Sir Isaac Helsen. Our relationship started basically when PITP first started. His song, 'The Extent of the Observable World That is Seen at Any Given Moment' from 2018 was played on repeat many nights. I messaged him and we jumped on a call about a possible release. This song was going to be the first physical PITP release on 7". We both decided though, through several discussions, that we both equally dislike 7" records. The minute you put the needle down and relax, you're getting back up to flip it! Perhaps laziness, perhaps cost, but we ultimately decided against it. That's where his split 12" 'RAS' came about with one of my favorite artists, Wayne Robert Thomas. What a lovely album. In short, Isaac's passion and view of PITP mirrored mine, so I asked him to be my partner. I can write an entire article on Isaac and what he means to me, but we can save that for our Rolling Stone article that will never happen.
Nicholas. It's what I call him when we are having a serious conversation. Doesn't happen too often, but when it does, he is Nicholas. Nick is another close friend and partner of PITP. He's our in-house mental health counselor too, although he won't admit it. Prior to PITP releasing cassettes (Something I initially vowed never to do), I saw so many ambient artists releasing cassettes. I decided to take the plunge and publicly asked on PITP's twitter for ambient tape recommendations. Tyresta commented. I purchased. The rest is history. Nick's passion matched Isaac and I's and he has been with us pretty much since the beginning. Again, I can write an entire article on Nick and what he means to me and we will save that for the Rolling Stone article. ha!
Angela is was of those people you will meet and immediately know how genuine and kind someone is. I’ve celebrated her many lush works over the years, especially ‘Moments in Golden Light’ when I was curating the list of artists to take part in Geneva. It just so happens I caught Angela just finishing up the final touches of ‘Frozen Passages’ and had time to take on this little endeavor. She accepted the offer to rework a track and I couldn’t believe the result. She is truly an incredible artist and person.
LP // Cassette // Digital
Past Inside the Present is pleased to present an extraordinary compilation titled, ‘Geneva’, showcasing the works of some of the most prolific and prominent ambient artists of our time. Intentionally chosen for their positive impact in the genre and influential previous works; nine artists exhibit their masterfully crafted sounds based off a simple loop that was provided to them. Each artist on ‘Geneva’ used a loop created by zakè and then in turn reworked, manipulated and expanded upon the source material resulting in their own unique creation.
‘Geneva’ includes familiar PITP artists, (Benoît Pioulard, Hotel Neon, Warmth, worriedaboutsatan, Isaac Helsen & Tyresta) in addition to several artists appearing for the first time on the PITP imprint (The Sight Below, Poemme, & Andrew J Klimek). Mastered at Black Knoll Studio (NY) by Rafael Anton Irisarri, ‘Geneva’ is a compelling and inspirational paean to various forms and patterns of the ambient genre.
Tracks 1-9 are featured on 'Geneva Remixes' LP
Tracks 10-14 are featured on 'Geneva Loops' Cassette
Geneva loop remixes and reworks by the following:
(1) Hotel Neon, (2) The Sight Below, (3) Isaac Helsen, (4) Benoît Pioulard, (5) worriedaboutsatan, (6) Warmth, (7) Poemme, (8) Tyresta, and (9) Andrew J Klimek
‘Geneva Loops’ written and produced by zakè (tracks 10-14)
Mixed at SDS Studio (WA) by Drew Sullivan
Mastered at Black Knoll Studio (NY) by Rafael Anton Irisarri
Design, layout and assemblage by zakè
'Geneva Morning Sky' photo provided by Mathieu Garcia; Geneva, Switzerland.
© Past Inside the Present
This is PITP-V025 | MMXX
This artist is a major influence in my creative process. He inspires me by his versatility and audacity to push boundaries. One of my favourite album, On the Echoing Green, immerses you in a shoegaze and dream pop haze with a touch of lo-fi. You are transported to this nostalgic place with the noisy and melodic guitar effects.
The second album, Tracking Back the Radiance, is a much more subtle record but hypnotic all the same.
I enjoy alternating with the order of my pedals. Sometime, the simple act of changing their positioning on the pedal board can trigger a different sound. I am constantly searching for a new and interesting sound all the while ensuring the specific esthetic I have worked to preserve. I believe that the esthetic of a piece of art can transcend the art itself. It is with this belief that Ruptures was created.
A non-exhaustive list of things that directly inspired the album Nature Morte.
Things is the name of a novel by George Perec, a french author who set boundaries in his creative process in order to create unique pieces of art. You've perhaps heard of his most famous work: La Disparition (Vanish'd in english) - a three hundred page novel written without the letter “E”. It is truly an unreadable narrative but the creative process is interesting; sometimes the result is amazing, where a perfect balance exists between the means and the end, like his book Things.
I decided to imitate Perec, limiting myself to the use of only one cassette tape loop for each track. On certain tracks like Esquisse, there is no manipulation, whereas on others such as Relief, there is a lot. There is virtually no mix in my DAW. The loops are processed live with the use of pedals, an effect processor and an analog EQ. I wished to keep things as simple as possible because I discovered that when endless possibilities are at my disposal, it interferes with my slow creative flow.
I work part time at a Fine Arts Museum. Naturally, being surrounded by a lot of paintings, greatly influences me. I often find myself going before opening hours. The experience of being completely alone in a room, filled with so much beauty and history is wildly enriching.
I am in no way a painter but I am deeply moved by the technicality of the paintings, especially the dutch Still life of the seventeenth century. I named the tracks of the album as if I were, myself, painting a Still life; a musical one
Music and architecture are my main fields of interest. Producing an album like 'Chronos' is more or less like building a house from setting the foundation to final decoration. That’s why I’d like to present to you the places that we as AUSKLANG connect to the most and that inspired making this record.
This wonderful 19th century Church has become our musical home.
It’s the place where we had our very first concert and since two months we started a series of live sessions every Thursday night. It’s not a regular show but people can come in and stay for how long they want. Soaking in the atmosphere and tranquility of this space. When we start playing we don’t know what will happen as everything is improvised. There’s space for vulnerability and space for magic and conversation in the music that is being created in these fragile moments.
The building itself displays fragility as it was heavily damaged during World War 2 and you can still see the scars. During the peaceful revolution in 1989 it was a secret gathering place for political activist leading towards change. We feel very blessed to be able to play our music in this special place and it continues to inspire us for making new music. For example we share the recordings of our live sessions with our patrons on Patreon.
I‘ve discovered this brick building on my first walk through Berlin-Weissensee, a rather quiet district far away from the rushing and hip areas of the town.
What seemed at first sight like a rather usual side street later unveiled as a creative hub for many leading musicians. I found an open door and stumbled into an Italian guy who explained to me that this was his sound studio. He showed me around his place filled with analog audio gear of all ages. At this time I didn’t know that he was Francesco Donadello and had worked with most of my musical idols like Hammock and A Winged Victory for the Sullen. It feels to me like a perfect coincidence that we were later able to use the recording room in this building to record our album 'Chronos'.
Only one street away I’ve found my own little Studio for working on my music and sound projects. It feels like a hidden world, a pitoresque brick building in a side street backyard.
The turbulent world stays outside while I lock myself in this room to produce music. There are several audio engineers working here and we share a lot of knowledge and gear which is a great support. Here I’ve spend endless hours working on mixing and mastering the tracks for „Chronos“. Everytime I felt like I couldn’t continue working due to lack of time or creativity something new and inspiring came across my way. Like this one day when I’ve found an interview with Sigur Rós producer Alex Somers in a staple of old Sound magazines talking about his work on “Kveikur”. I’ve learned some very creative techniques that I used in Chronos straight away. On 'Abschied' for example I’ve slowed down the piano track to half speed and half pitch making it and slow-motion like second layer. Thank you Alex ;)