crash out the lamp

Up next in our mix series is Berlin based Dutch-Italian recording and performing artist Grand River (@grandriver). Interview (excerpt) down below.

www.musicfrommemory.com
 
MFM: Hi Aimée. In the musical landscape nowadays it often seems to be all about the final result (or product even) rather than the process and path before it. With your music it feels that it's more about the process of making rather than the final outcome. Where does your profound interest for experimenting with audio and composing come from?
 
GR: Nice to hear that you see it that way and to know that it may be perceived like this from the outside as well. The work itself and how we experience the process is what matters most. It’s not always easy to be mindful about how everything is created along the way. The end result or end product is important, but if you don’t enjoy the process of how you get there, I don’t think it makes much sense to even undertake the journey. And of course this applies to many aspects of life.
 
MFM: You've got a rich experience in doing technical work for and at radio stations and with other kinds of media. Did you have someone to teach you all the ins & outs of audio and technical production?
 
GR: Most of the technical work I learned directly through working as I did not go to any audio school to study sound design or audio engineering. When I started to work as an audio engineer for radio stations and other media outlets 13-14 years ago, there were not many audio schools like there are now. Back then, the people I worked with were mainly composers that had learned audio engineering on their own, just as I had. However, as a child, I was formally taught music theory and musical instruments. That, of course, came long before the technical work.
 
MFM: Your first official release dates are from 2017 but you had been active with experimenting, composing, and recording for a much longer time already. At what point did you find yourself confident and pleased enough to share your productions with the outside world?
 
GR: When I moved to Berlin in 2015 I took the first few years to research and study the sound I wanted to express and felt a connection to. Long before that, I was building and playing other genres. It takes time to find your sound and style, and the interesting part is that it continues to evolve over time. Even when you think you’ve found it, it still changes slightly.
 
MFM: Do you go to the studio religiously, regardless of whether you feel inspired or motivated? Do you have a certain routine when working in the studio?  
 
GR: I don’t go to the studio religiously, at least not to make music. 
I do work every day, but often I am just sitting in my studio listening to music, writing emails, or having meetings. Many people don’t know how much work is behind a project. From the outside, what you see is just the tip of the iceberg. I mostly compose in phases; I might compose a lot for two months and then the next month I will be focused on researching, or preparing a live show, recording a mix like I did for you, or creating a sound installation. I need time to absorb what I compose and let it rest, and then get back to it.
 
MFM: Are there any new projects that you're working on and can share with us? 
 
GR: I am working on several beautiful projects at the moment. This year I am working on different collaborations of which the releases will follow in the near future. I have a new album coming out either at the end of the year or beginning of 2023. I am currently working on an immersive installation and I will also be premiering a new AV show with the visual artist Marco Ciceri this summer.

MFM Mix 041: Grand River

Disappear Here EP (Tape Version w/ special treats) SIDE B

Disappear Here EP (Tape Version w/ special treats) SIDE A

Limestone Pavilions

Nearly thirty years after the original recording, I decided to reinterpret one of the best electronic albums of all time using completely new music. For the full tracklist visit: http://asip.me/portals8

ASIP - Portals Episode 8: The KLF's Chill Out (A New Dimension)

More

Ode To George

Brickstone

Taking a recording I made of a resonant cathedral space in Berlin, I sought to compose a sequence of frames that might reveal the complex relationships of reflective surfaces by creating gaps and juxtapositions of diverse moments, a sonic cubist approach. I was interested in finding traces that reinforce both the silence and the sound by venturing into a ruptured temporal fabric. My body, my device. Sound that reveals the silence, the interplay between calm and turbulence, the rustling thresholds of clothing etc. One of the revealing sounds was that of an infant. In the manipulation of the sound file the child's voice undergoes a metamorphosis. I leave it to the listeners to have their own experience of this transformation.  The pure play of voice as it reaches the limits of it own articulation evolves with the aid of digital means toward an otherness and echoes the lost or forgotten voices perhaps recovered in this moment between birth and extinction.

Evolvability (Our Voice)

from the album 'sour cherry bell' available 9/18

Sour Cherry Bell

mj guider 'fm secure'

DT - 20181218 - 3

An aesthetically-themed collection of 12 tracks from sound collectives possessing music venues + house shows + art + fashion + film-based social rituals in Seattle, Portland, and Vancouver, B.C.

Available on numbered, limited-edition 180gm clear vinyl, CD, and digital. 

http://flatfieldrecords.com/twitch-and-gloam/

Track Listing:
1.  Vice Device - Solvent	3:41
2.  Light House - Watchword	3:16*
3.  Mode Moderne - Only Sleep	3:50
4.  Koban - Feed The Dogs	3:57
5.  Grey Gardens - Baby	3:18
6.  //ZOO - Twisted Fingers	4:18
7.  Nightmare Fortress - Faces In The Dark	4:40
8.  Baby Guns - BETABlocker	4:30
9.  Haunted Horses-The Void	2:49
10. Perpetual Ritual-Certain Time of Night	4:19
11. Grave Babies-Carve Out Your Tongue	1:50
12. Music For Evenings-Afraid of Ghosts (Not Afraid to Die)	2:50

Vice Device-Solvent - Twitch and Gloam

Afterlife

The Red Window "Silver Paper"

After a pandemic induced gap since our last release, we make our first foray into the digital realm with tracks from Sophie Du Palais, Mavridis, Petros Spatharos, Kafkactrl, AIRLQD, Future Relics and Roberto Auser.

As a temporary antidote to this ever more cryptic world, the ‘Wrongful Convictions’ V/A brings together artists from all corners of Europe who share an affinity for the spectral side of the sonic plains.

“If you’re not living on the margins, you’re taking up too much room”

https://soundcloud.com/vrouwefataal
https://soundcloud.com/artificialhorizonrecords

Pre-order

PRÉMIÈRE: Sophie Du Palais - Liefde [Artificial Horizon]

The first track we recorded with the Digitakt, accompanied by the Ciat Lonbarde Deerhorn and Tetrax Organs. 
We used some samples from the sample packs by Jogging House (Reel Feels) and Hainbach (Isolation Loops). 
Links to the sample packs below. 
We hope you enjoy this one :)

Reel Feels by Jogging House: https://jogginghouse.bandcamp.com/album/reel-feels-sound-pack
Isolation Loops by Hainbach: https://hainbach.bandcamp.com/album/isolation-loops-soundpack

Bird Feeder

Flat Field Records is a record label based in Seattle WA. 

Vice Device-Solvent - Twitch and Gloam

FlatFieldRecords

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