Espectrostatic interview with Alex Cuervo
When asked to define his music Alex Cuervo, aka one-man
recording project Espectrostatic, simply says, “The quick and dirty reduction
for non-music geeks is “Horror movie music”.
If that doesn’t scare [people] off then maybe there’s a longer
conversation to be had” and that’s pretty damned accurate. Yeah, there’s tons of Fabio Frizzi, John
Carpenter and tons of other horror influences that really run the gambit going
on in Espectrostatic’s music, but there’s also heavy roots in punk, garage and
psych that a lot of people don’t seem to tune into immediately. There’s a lot of the synth heavy
Carpenter-influenced stuff going on, but not only does a lot of that stuff miss
the mark, it’s just retreading ground that’s been covered before. Espectrostatic isn’t interested in that
though, taking the increasingly popular ‘horror movie music’ genre and adding
some extra ingredients that really spice up the mix. There’s a pure soundtrack feel to
Espectrostatic’s back catalog you don’t hear often outside of the actual
medium, drawing heavy influence from an immense catalog of work rather than
dwelling on a small window or gap of a few years. Escape From Witchtropolis Espectrostatic’s
newest album, and second for Trouble in Mind Records, released at the tail-end
of 2014 is a devastating masterpiece of spine-tingling, edge of your seat
tension filled journeys through madness and mental illness! There really aren’t many people going right
now that I would put up against the heavy hitters like Goblin that were early
explorers in the soundtrack and horror genres, but Espectrostatic easily earns
a place amongst the greats with not one but two jaw-dropping full-lengths and a
host of digital releases that will have you trying to figure out how to stuff
money into the computer screen and make records fall out! Needless to say, if you’re into soundtrack
music, horror films specifically, you are going to need a copy of both
Espectrostatic’s albums. Don’t fight the
urge. Feed the need, click the link and
help keep real music alive.
recording project Espectrostatic, simply says, “The quick and dirty reduction
for non-music geeks is “Horror movie music”.
If that doesn’t scare [people] off then maybe there’s a longer
conversation to be had” and that’s pretty damned accurate. Yeah, there’s tons of Fabio Frizzi, John
Carpenter and tons of other horror influences that really run the gambit going
on in Espectrostatic’s music, but there’s also heavy roots in punk, garage and
psych that a lot of people don’t seem to tune into immediately. There’s a lot of the synth heavy
Carpenter-influenced stuff going on, but not only does a lot of that stuff miss
the mark, it’s just retreading ground that’s been covered before. Espectrostatic isn’t interested in that
though, taking the increasingly popular ‘horror movie music’ genre and adding
some extra ingredients that really spice up the mix. There’s a pure soundtrack feel to
Espectrostatic’s back catalog you don’t hear often outside of the actual
medium, drawing heavy influence from an immense catalog of work rather than
dwelling on a small window or gap of a few years. Escape From Witchtropolis Espectrostatic’s
newest album, and second for Trouble in Mind Records, released at the tail-end
of 2014 is a devastating masterpiece of spine-tingling, edge of your seat
tension filled journeys through madness and mental illness! There really aren’t many people going right
now that I would put up against the heavy hitters like Goblin that were early
explorers in the soundtrack and horror genres, but Espectrostatic easily earns
a place amongst the greats with not one but two jaw-dropping full-lengths and a
host of digital releases that will have you trying to figure out how to stuff
money into the computer screen and make records fall out! Needless to say, if you’re into soundtrack
music, horror films specifically, you are going to need a copy of both
Espectrostatic’s albums. Don’t fight the
urge. Feed the need, click the link and
help keep real music alive.
Now, I know that
Espectrostatic is essentially a solo recording project for you but I
unfortunately haven’t had your releases sitting in front of me so I could pore
over the liner notes and was curious if anyone else was ever involved in
performing on Espectrostatic’s releases?
Espectrostatic is essentially a solo recording project for you but I
unfortunately haven’t had your releases sitting in front of me so I could pore
over the liner notes and was curious if anyone else was ever involved in
performing on Espectrostatic’s releases?
Nope, it’s just me.
Are you in any
other bands or do you have any side projects going on besides Espectrostatic
right now?
other bands or do you have any side projects going on besides Espectrostatic
right now?
Yeah, I’m in a band called the Hex Dispensers that have been
around since 2006. Some might consider
Espectrostatic to be the side project.
around since 2006. Some might consider
Espectrostatic to be the side project.
Have you released
any material with anyone else in the past?
I know that you have a 4-song 7-inch EP on Trouble In Mind Records and
another solo 2-song single for Red Lounge Records both in 2011, but I didn’t
know if you had any other solo releases or had put out anything with any other
bands in the past? If you have, can you
tell us a little bit about that here?
any material with anyone else in the past?
I know that you have a 4-song 7-inch EP on Trouble In Mind Records and
another solo 2-song single for Red Lounge Records both in 2011, but I didn’t
know if you had any other solo releases or had put out anything with any other
bands in the past? If you have, can you
tell us a little bit about that here?
Well, those singles were my first solo releases, but I’ve
been recording with bands for over twenty years; Blacktop, King Sound Quartet,
a Feast of Snakes, The Now Time Delegation, and the Gospel Swingers to name a
few.
been recording with bands for over twenty years; Blacktop, King Sound Quartet,
a Feast of Snakes, The Now Time Delegation, and the Gospel Swingers to name a
few.
How old are you
and where are you originally from?
and where are you originally from?
I’m forty three and I’m originally from El Paso, Texas.
What was your home
like when you were growing up? Was there
a lot of music around or anything? Were
either of your parents or any of your close relatives musicians or extremely
interested/involved in music?
like when you were growing up? Was there
a lot of music around or anything? Were
either of your parents or any of your close relatives musicians or extremely
interested/involved in music?
I wouldn’t really call it a musical childhood. I loved music, but there weren’t any
musicians in my family to learn from. I
wanted to take piano and guitar lessons, but those never materialized during my
childhood.
musicians in my family to learn from. I
wanted to take piano and guitar lessons, but those never materialized during my
childhood.
What do you consider
your first real exposure to music to be?
your first real exposure to music to be?
Probably my older sister’s records. Stuff like ELO, Queen, Kansas.
What was the local
music scene like when you were growing up?
Did you see a lot of shows or get very involved in it? Do you feel like that local scene played an
important role in shaping your musical tastes or the way that you perform at
this point?
music scene like when you were growing up?
Did you see a lot of shows or get very involved in it? Do you feel like that local scene played an
important role in shaping your musical tastes or the way that you perform at
this point?
I was heavily involved in the El Paso punk scene around
1987-1989. I was in bands, booked shows
and made zines.
1987-1989. I was in bands, booked shows
and made zines.
If you were to
pick a moment where everything seemed to change for you musically and your eyes
were opened to the infinite possibilities of music, what would it be?
pick a moment where everything seemed to change for you musically and your eyes
were opened to the infinite possibilities of music, what would it be?
Definitely the first time I heard “Halber Mensch” by
Einstürzende Neubauten. I was completely
blown away by how immense and how totally fucking creepy it was. Up until that point I’d only been exposed to
punk and metal, but this was something from another planet as far as I was
concerned.
Einstürzende Neubauten. I was completely
blown away by how immense and how totally fucking creepy it was. Up until that point I’d only been exposed to
punk and metal, but this was something from another planet as far as I was
concerned.
What was your
first instrument? When and how did you
originally get it?
first instrument? When and how did you
originally get it?
I started out playing drums (badly) at sixteen, then sang
for a few bands. Many years later I
picked up a bass and that was my main instrument for a very long time.
for a few bands. Many years later I
picked up a bass and that was my main instrument for a very long time.
When did you
decide to start writing and performing your own music? Or was that just kind of an outgrowth of
being given an opportunity to create something of your own and express
yourself?
decide to start writing and performing your own music? Or was that just kind of an outgrowth of
being given an opportunity to create something of your own and express
yourself?
I’ve always had musical ideas that didn’t really fit with
any of the bands I’d been playing with, and a desire to do something more
experimental and filmic. The solo 7”
records were kind of an outgrowth from the Hex Dispensers while we were taking
a break, but Espectrostatic is another thing entirely. I’ve been studying film composition for a few
years now, and Espectrostatic started as a way for me to practice using the
tools of the contemporary film scoring trade; to bridge the gap between what I
had been doing, and what I was learning how to do.
any of the bands I’d been playing with, and a desire to do something more
experimental and filmic. The solo 7”
records were kind of an outgrowth from the Hex Dispensers while we were taking
a break, but Espectrostatic is another thing entirely. I’ve been studying film composition for a few
years now, and Espectrostatic started as a way for me to practice using the
tools of the contemporary film scoring trade; to bridge the gap between what I
had been doing, and what I was learning how to do.
What led to the
formation of Espectrostatic and when would that have been?
formation of Espectrostatic and when would that have been?
I did the first recordings in 2011/2012: the Skeletactical
EP. That was my first attempt at this
sort of thing. It’s evolved a lot since
then.
EP. That was my first attempt at this
sort of thing. It’s evolved a lot since
then.
Is there any sort
of creed, code, ideal or mantra that you operate by or under?
of creed, code, ideal or mantra that you operate by or under?
On a personal level, I just try to be real, do what feels
right, treat people respectfully, fairly and honestly, and to not act like some
kind of affected phoney-baloney showbiz-type.
right, treat people respectfully, fairly and honestly, and to not act like some
kind of affected phoney-baloney showbiz-type.
What does the name
Espectrostatic mean or refer? How did
you come up with the name and how did you go about choosing it? Are there any close seconds or runners up
that you almost went with you can recall?
Espectrostatic mean or refer? How did
you come up with the name and how did you go about choosing it? Are there any close seconds or runners up
that you almost went with you can recall?
It’s just a word I’ve had stuck in my head for a long
time. Espectro being spanish for
“spectre” mixed with static, as in television or radio static. It occurs to me now that TV and radio static
are remnants of old technology, so that’s kind of cool too, I guess. I first came up with it as a name for a
record label I wanted to start that I never got off the ground. I’m glad I finally got to use the name.
time. Espectro being spanish for
“spectre” mixed with static, as in television or radio static. It occurs to me now that TV and radio static
are remnants of old technology, so that’s kind of cool too, I guess. I first came up with it as a name for a
record label I wanted to start that I never got off the ground. I’m glad I finally got to use the name.
Where is
Espectrostatic located at this point?
How would you describe the local music where you’re at?
Espectrostatic located at this point?
How would you describe the local music where you’re at?
I’m in Austin, Texas.
There’s a thriving music scene here – all kinds of bands and lots of
different micro-genre scenes. There’re
always shows, but I’m a homebody/recluse now, so I almost never go out anymore
unless it’s for film related stuff, or dinner.
There’s a thriving music scene here – all kinds of bands and lots of
different micro-genre scenes. There’re
always shows, but I’m a homebody/recluse now, so I almost never go out anymore
unless it’s for film related stuff, or dinner.
Do you see a lot
or book many shows there? Do you feel
like you’re very involved in the local scene?
or book many shows there? Do you feel
like you’re very involved in the local scene?
I used to be, but not really anymore. The Hex Dispensers play locally every so
often. I really like playing out of
town, but I’m sick of touring… So
that’s a conundrum. The Hex Dispensers
are doing four shows in the Pacific Northwest in late February that they’re
flying us out for, which is cool. But in
general I don’t really feel the call or the appeal of playing live anymore, I
much prefer writing and recording.
often. I really like playing out of
town, but I’m sick of touring… So
that’s a conundrum. The Hex Dispensers
are doing four shows in the Pacific Northwest in late February that they’re
flying us out for, which is cool. But in
general I don’t really feel the call or the appeal of playing live anymore, I
much prefer writing and recording.
Do you feel like
the local scene has played an integral role in the sound, history or evolution
of Espectrostatic or do you feel like you would be doing what you’re doing and
sound basically like you do regardless of where you were at?
the local scene has played an integral role in the sound, history or evolution
of Espectrostatic or do you feel like you would be doing what you’re doing and
sound basically like you do regardless of where you were at?
I’d probably be doing this sort of thing wherever I found
myself, because it’s really the distillation of things I’ve loved for
ages. That said, there’s a good film
scene here, and an amazing film festival called Fantastic Fest which is all
genre films – and I guess that kind of affects me and exposes me to new and
cool indie and foreign genre filmmakers, whose work I find very inspiring.
myself, because it’s really the distillation of things I’ve loved for
ages. That said, there’s a good film
scene here, and an amazing film festival called Fantastic Fest which is all
genre films – and I guess that kind of affects me and exposes me to new and
cool indie and foreign genre filmmakers, whose work I find very inspiring.
Are you involved
in recording or releasing any music besides your own/Espectrostatic’s? If so, can you tell us about that here
briefly?
in recording or releasing any music besides your own/Espectrostatic’s? If so, can you tell us about that here
briefly?
Yeah, the Hex Dispensers are actually going into the studio
to record an album this coming weekend.
to record an album this coming weekend.
You seem like you
draw sounds from just about anywhere you can find them; little slices and
chunks of a ton of different stuff kicking around in Espectrostatic’s sound
from Euro and American soundtracks to some killer rock and psych influences, at
least from what I can hear. I’m curious
who you would cite as your major musical influences?
draw sounds from just about anywhere you can find them; little slices and
chunks of a ton of different stuff kicking around in Espectrostatic’s sound
from Euro and American soundtracks to some killer rock and psych influences, at
least from what I can hear. I’m curious
who you would cite as your major musical influences?
The artists that originally got me interested in exploring
these types of sounds would be Angelo Badalamenti, John Carpenter and J.G.
Thirlwell. That’s the short answer, but
really it’s an insanely long list within a diverse range of genres. I tend to be drawn to darker or melancholy
stuff in general, and I prefer raw sounds to more polished ones, but I just
love so many different types of music: Film Scores, naturally, Punk, Garage,
Psych, Post Rock, Noise Rock, 60s Soul, Experimental, Electronic, Pop, Death
Rock, Goth, Hardcore, Metal, Jazz, Industrial, Funk, old/classic Country, Delta
Blues, the list goes on and on…
these types of sounds would be Angelo Badalamenti, John Carpenter and J.G.
Thirlwell. That’s the short answer, but
really it’s an insanely long list within a diverse range of genres. I tend to be drawn to darker or melancholy
stuff in general, and I prefer raw sounds to more polished ones, but I just
love so many different types of music: Film Scores, naturally, Punk, Garage,
Psych, Post Rock, Noise Rock, 60s Soul, Experimental, Electronic, Pop, Death
Rock, Goth, Hardcore, Metal, Jazz, Industrial, Funk, old/classic Country, Delta
Blues, the list goes on and on…
Whenever I talk to
people I have to describe how they sound to an increasingly large group of
people who might not have ever heard them before and it can seriously be a
daunting task, especially with people such as yourself with such a varied and
intriguing sound. I’m really curious,
how would you describe Espectrostatic’s sound to our readers who might not have
heard you before in your own words?
people I have to describe how they sound to an increasingly large group of
people who might not have ever heard them before and it can seriously be a
daunting task, especially with people such as yourself with such a varied and
intriguing sound. I’m really curious,
how would you describe Espectrostatic’s sound to our readers who might not have
heard you before in your own words?
The quick and dirty reduction for non-music geeks is “Horror
movie music”. If that doesn’t scare them
off then maybe there’s a longer conversation to be had.
movie music”. If that doesn’t scare them
off then maybe there’s a longer conversation to be had.
What’s the
songwriting process for Espectrostatic like?
Is there any kind of usual process you go through when writing or
arranging music for Espectrostatic material?
songwriting process for Espectrostatic like?
Is there any kind of usual process you go through when writing or
arranging music for Espectrostatic material?
Visuals are a must.
I’ll either have a movie or trailer going silently in the background, or
I’ll have my tumblr page open, which is basically just a collection of images
that look like what I want this music to sound like. My studio is filled with all kinds of weird
and creepy toys. I like having a lot of
visual stimulation.
I’ll either have a movie or trailer going silently in the background, or
I’ll have my tumblr page open, which is basically just a collection of images
that look like what I want this music to sound like. My studio is filled with all kinds of weird
and creepy toys. I like having a lot of
visual stimulation.
What about
recording for Espectrostatic? I’m a
musician myself and while I think that most of us can appreciate all the time
and effort that goes into making an album once it’s finally done and we’re holding
that finished product in our hands, getting to that point can be an
excruciating process for some people.
Getting things to sound the way you want them to, even small things like
getting things properly mixed and mastered can be difficult to say the
least. What’s it like recording for
Espectrostatic?
recording for Espectrostatic? I’m a
musician myself and while I think that most of us can appreciate all the time
and effort that goes into making an album once it’s finally done and we’re holding
that finished product in our hands, getting to that point can be an
excruciating process for some people.
Getting things to sound the way you want them to, even small things like
getting things properly mixed and mastered can be difficult to say the
least. What’s it like recording for
Espectrostatic?
It can be challenging because I do it all myself, but I
learn something new every day, which is great.
The thing about mixing is that it’s done when you decide to stop,
because you could always keep going. I
still think I have a long way to go as far as refining my mixing skills, but
luckily I’m not drawn to super glossy/slick sounding stuff, so I don’t kill
myself about it either. Mastering is a
mysterious dark art and I have a lot of respect for people who do it well. I self-master a lot of functional/media music
that I write for clients because time is usually an issue, but for anything
getting released physically, I leave that to the pros.
learn something new every day, which is great.
The thing about mixing is that it’s done when you decide to stop,
because you could always keep going. I
still think I have a long way to go as far as refining my mixing skills, but
luckily I’m not drawn to super glossy/slick sounding stuff, so I don’t kill
myself about it either. Mastering is a
mysterious dark art and I have a lot of respect for people who do it well. I self-master a lot of functional/media music
that I write for clients because time is usually an issue, but for anything
getting released physically, I leave that to the pros.
Do you like to
take a DIY approach to recording where you handle most of the technical aspects
of things on your own time and turf with your own equipment so that you don’t
have to work with or compromise on the sound with anyone else? Or do you like to head into a studio and let
someone else handle the technical side of things so that you can concentrate
more on the music and getting things to sound the way you want them to?
take a DIY approach to recording where you handle most of the technical aspects
of things on your own time and turf with your own equipment so that you don’t
have to work with or compromise on the sound with anyone else? Or do you like to head into a studio and let
someone else handle the technical side of things so that you can concentrate
more on the music and getting things to sound the way you want them to?
I do everything in my home studio using Logic Pro X.
Is there a lot of
time and effort that goes into working out exactly how a song’s going to sound
with the arrangement and composition meticulously planned and worked out
beforehand or do you get a good skeletal idea of what a song’s going to sound
like while allowing for some change and evolution during the recording process where
you feel necessary?
time and effort that goes into working out exactly how a song’s going to sound
with the arrangement and composition meticulously planned and worked out
beforehand or do you get a good skeletal idea of what a song’s going to sound
like while allowing for some change and evolution during the recording process where
you feel necessary?
For Espectrostatic stuff, I think I tend to start with a
single musical idea or figure and just build organically from there. I usually begin with improvisation and
experimentation, and then apply some music theory to help me build structures
around the initial skeleton.
single musical idea or figure and just build organically from there. I usually begin with improvisation and
experimentation, and then apply some music theory to help me build structures
around the initial skeleton.
Despite the, at
least in my opinion, ass backward laws across the globe right now, people have
been tapping into the altered states that drugs produce for the purposes of
creating art and I’m always curious about their usage and application when it
comes to the art that I personally enjoy and consume. Do psychoactive or hallucinogenic drugs play
a large or important role in the songwriting, recording or performance processes
for Espectrostatic?
least in my opinion, ass backward laws across the globe right now, people have
been tapping into the altered states that drugs produce for the purposes of
creating art and I’m always curious about their usage and application when it
comes to the art that I personally enjoy and consume. Do psychoactive or hallucinogenic drugs play
a large or important role in the songwriting, recording or performance processes
for Espectrostatic?
I stopped taking drugs a very long time ago, but I
experimented a good bit when I was younger.
Suffice it to say, I can recall those experiences vividly enough to tap
into that energy, which can be good creatively, but absolutely terrible for my
mental well-being. It’s all fun and
games until somebody has a bad trip. I
had one in particular many years ago that was so terrifying and so disturbing
that I’m still affected by it to this day.
That was the last time for me. So
yeah, in a sense I guess substances do indirectly affect my writing.
experimented a good bit when I was younger.
Suffice it to say, I can recall those experiences vividly enough to tap
into that energy, which can be good creatively, but absolutely terrible for my
mental well-being. It’s all fun and
games until somebody has a bad trip. I
had one in particular many years ago that was so terrifying and so disturbing
that I’m still affected by it to this day.
That was the last time for me. So
yeah, in a sense I guess substances do indirectly affect my writing.
The fist material
that Espectrostatic released I know of was back in 2012, Skeletactical a
digital three track EP. None of those
tracks have been included on either of your two full-length albums. Are there any plans to release that material
physically in the future or have those recordings time kind of come and gone at
this point? Can you share some of your
memories of recording those first tracks?
When and where were they recorded?
Who recorded it? What kind of
equipment was used to record Skeletactical?
that Espectrostatic released I know of was back in 2012, Skeletactical a
digital three track EP. None of those
tracks have been included on either of your two full-length albums. Are there any plans to release that material
physically in the future or have those recordings time kind of come and gone at
this point? Can you share some of your
memories of recording those first tracks?
When and where were they recorded?
Who recorded it? What kind of
equipment was used to record Skeletactical?
I’ve discussed releasing that EP as a 7-inch with some
people, but I think that endeavor might have died on the vine. Those were recorded on my older workstation
just as I was finishing up an online orchestration class, so I really wanted to
do something loud and non-orchestral with the same tools I had just figured out
how to use. I did those in Logic Pro
9. They were mixed and mastered by Jack
Control.
people, but I think that endeavor might have died on the vine. Those were recorded on my older workstation
just as I was finishing up an online orchestration class, so I really wanted to
do something loud and non-orchestral with the same tools I had just figured out
how to use. I did those in Logic Pro
9. They were mixed and mastered by Jack
Control.
In 2013 you
released your self-titled debut album on Trouble In Mind Records. Was the recording of Espectrostatic very
different than the session(s) for Skeletactical? Can you tell us a little bit about the
recording of the material for Espectrostatic?
Who recorded that? When and where
was that at? What kind of equipment was
used?
released your self-titled debut album on Trouble In Mind Records. Was the recording of Espectrostatic very
different than the session(s) for Skeletactical? Can you tell us a little bit about the
recording of the material for Espectrostatic?
Who recorded that? When and where
was that at? What kind of equipment was
used?
The first Espectrostatic LP was composed and sequenced in
Cubase 6, which I had transitioned to because Logic 9 hadn’t seen a significant
update in so many years. I’ve since
moved back to Logic since it was updated to X.
On the hardware side, everything was in the box, sampled analog synths
and some virtual synths, except for a Waldorf Rocket hardware synth which I
used quite a bit.
Cubase 6, which I had transitioned to because Logic 9 hadn’t seen a significant
update in so many years. I’ve since
moved back to Logic since it was updated to X.
On the hardware side, everything was in the box, sampled analog synths
and some virtual synths, except for a Waldorf Rocket hardware synth which I
used quite a bit.
2014 saw two
digital only releases from Espectrostatic, the first was the Phantominom VGS
six-track EP for April Fool’s Day and later followed by The Daemonum EP in
October. Phantominom VGS is a loose
concept album based on “the urban legend of a video game console no one had
ever seen or heard of purchased at a mysterious garage sale. The peculiar
electrical and television hookups were not compatible with any existing or
historical connections, leading some to speculate that this console was not of
our world, but from a nearby parallel universe”. There are three original Espectrostatic
compositions and three VGS remixes of Hex Dispensers tracks. Can you tell us a little bit about where that
concept came from and how those recordings came about? Are there any plans to release that physically
in the future or is that a digital only thing and going to stay that way? Were those original tracks leftovers from an
earlier session or sessions? If not, can
you tell us a little bit about recording those tracks?
digital only releases from Espectrostatic, the first was the Phantominom VGS
six-track EP for April Fool’s Day and later followed by The Daemonum EP in
October. Phantominom VGS is a loose
concept album based on “the urban legend of a video game console no one had
ever seen or heard of purchased at a mysterious garage sale. The peculiar
electrical and television hookups were not compatible with any existing or
historical connections, leading some to speculate that this console was not of
our world, but from a nearby parallel universe”. There are three original Espectrostatic
compositions and three VGS remixes of Hex Dispensers tracks. Can you tell us a little bit about where that
concept came from and how those recordings came about? Are there any plans to release that physically
in the future or is that a digital only thing and going to stay that way? Were those original tracks leftovers from an
earlier session or sessions? If not, can
you tell us a little bit about recording those tracks?
Phantominom VGS was just a fun, goofy idea. I’d wanted to dabble in a video game chiptune
kind of sound. I took some, albeit
small, liberties with the technical specifications of chiptune music, so I
created a goofy back story to explain its plausibility. I’d always intended it to be a novelty
release, and I was initially going to do it as a benefit for some kind of
mental health charity, but a bandmate of mine had some health problems and
subsequent medical debt, so it ended up being a benefit release for her. I raised a small chunk of dough for her, but
as sales tapered off, I switched it over to a “pay what you want” release so
people could grab it for free. All of
the newer, original tracks have since been re-worked, quite a lot actually, into
full-blown compositions on the new LP.
The other three tracks were remix/de-makes/reductions of older tracks,
and yeah, one was a reduction of a Hex Dispensers tune.
kind of sound. I took some, albeit
small, liberties with the technical specifications of chiptune music, so I
created a goofy back story to explain its plausibility. I’d always intended it to be a novelty
release, and I was initially going to do it as a benefit for some kind of
mental health charity, but a bandmate of mine had some health problems and
subsequent medical debt, so it ended up being a benefit release for her. I raised a small chunk of dough for her, but
as sales tapered off, I switched it over to a “pay what you want” release so
people could grab it for free. All of
the newer, original tracks have since been re-worked, quite a lot actually, into
full-blown compositions on the new LP.
The other three tracks were remix/de-makes/reductions of older tracks,
and yeah, one was a reduction of a Hex Dispensers tune.
What about the The
Daemonum EP? There are two tracks on
there composed for other projects, “The End Of Lexie” was done for the short
film “Lexie” by Matt Cunningham and “The 447” was composed for a haunted
house. Can you tell us a little bit
about the recording of the material for The Daemonum EP? Were those tracks recorded specifically for
the projects I mentioned above or were they part of previous sessions? What about the other three songs that are
featured on The Daemonum EP? If they
were recorded apart from the sessions we’ve already talked about, can you tell
us a little bit about that?
Daemonum EP? There are two tracks on
there composed for other projects, “The End Of Lexie” was done for the short
film “Lexie” by Matt Cunningham and “The 447” was composed for a haunted
house. Can you tell us a little bit
about the recording of the material for The Daemonum EP? Were those tracks recorded specifically for
the projects I mentioned above or were they part of previous sessions? What about the other three songs that are
featured on The Daemonum EP? If they
were recorded apart from the sessions we’ve already talked about, can you tell
us a little bit about that?
The Daemonum EP was just some stuff I had lying around. A couple tracks were leftover from the Escape
From Witchtropolis sessions, and there were a couple excerpts from some scoring
work and demos I’d done. I just wanted
to release something for free and digital-only ahead of the Escape From
Witchtropolis LP.
From Witchtropolis sessions, and there were a couple excerpts from some scoring
work and demos I’d done. I just wanted
to release something for free and digital-only ahead of the Escape From
Witchtropolis LP.
You recently
unleashed your sophomore full-length Escape From Witchtropolis on the world in
the end of 2014 again on Trouble In Mind.
Did you try anything radically new or different when it came to the
songwriting or recording of the material for Escape From Witchtropolis? When was that recorded? Where was that recorded? What kind of equipment was used?
unleashed your sophomore full-length Escape From Witchtropolis on the world in
the end of 2014 again on Trouble In Mind.
Did you try anything radically new or different when it came to the
songwriting or recording of the material for Escape From Witchtropolis? When was that recorded? Where was that recorded? What kind of equipment was used?
Aside from the transition back to Logic X and the
acquisition of some new sample libraries, the only different gear I used was an
Arturia Microbrute and a Korg Volca Keys.
Stylistically, I had just wrapped up a Composition For Film and
Television course, so a few of the tracks had begun as cues from school
assignments. I definitely went into this
record wanting to explore a more filmic sound, and also weave in some other
styles of music I like. Another goal was
to try and distance myself further from the 80s pastiche synthwave sound. I like a lot of the stuff being done in that
style, but some of it is just too ironic and too dancey for my personal
taste. Plus, there’s just a shitload of
it being made right now.
acquisition of some new sample libraries, the only different gear I used was an
Arturia Microbrute and a Korg Volca Keys.
Stylistically, I had just wrapped up a Composition For Film and
Television course, so a few of the tracks had begun as cues from school
assignments. I definitely went into this
record wanting to explore a more filmic sound, and also weave in some other
styles of music I like. Another goal was
to try and distance myself further from the 80s pastiche synthwave sound. I like a lot of the stuff being done in that
style, but some of it is just too ironic and too dancey for my personal
taste. Plus, there’s just a shitload of
it being made right now.
Does
Espectrostatic have any music that we haven’t talked about, maybe a demo or a
single that I don’t know about?
Espectrostatic have any music that we haven’t talked about, maybe a demo or a
single that I don’t know about?
I make my living as a composer, so I’m always writing
music. Some of it gets released as
Espectrostatic, but some of it ends up in music libraries or TV commercials, or
TV shows or films.
music. Some of it gets released as
Espectrostatic, but some of it ends up in music libraries or TV commercials, or
TV shows or films.
With the release
of Escape From Witchtropolis only a few months ago as I write this, are there
any other releases in the works or on the horizon from Espectrostatic that you
can talk about? And are there any major
plans or goals that Espectrostatic is looking to accomplish in 2015?
of Escape From Witchtropolis only a few months ago as I write this, are there
any other releases in the works or on the horizon from Espectrostatic that you
can talk about? And are there any major
plans or goals that Espectrostatic is looking to accomplish in 2015?
I’m working on scoring a couple short horror films right
now, and I’ve got a couple feature films on the books for later this year. I really want to do another Espectrostatic LP
this year, but I may not have to time to devote to it. Hopefully the feature films actually happen
and one or both of them end up getting released as soundtrack records, but it’s
all speculation and wishful thinking at this point.
now, and I’ve got a couple feature films on the books for later this year. I really want to do another Espectrostatic LP
this year, but I may not have to time to devote to it. Hopefully the feature films actually happen
and one or both of them end up getting released as soundtrack records, but it’s
all speculation and wishful thinking at this point.
Where’s the best
place for our interested US readers to pick up copies of your stuff?
place for our interested US readers to pick up copies of your stuff?
Ideally, at their local record store. You can also order them directly from Trouble in Mind, and hopefully by the time this goes up, I’ll have some LPs available
on my Bandcamp page.
on my Bandcamp page.
With the
completely insane international postage rate increases over the past few years
that don’t show any signs of letting up at this point I try and provide our
readers with as many possible options as I can for picking up imports. Where’s the bets place for our overseas and
international readers to score your stuff?
completely insane international postage rate increases over the past few years
that don’t show any signs of letting up at this point I try and provide our
readers with as many possible options as I can for picking up imports. Where’s the bets place for our overseas and
international readers to score your stuff?
Right at this moment, there’s still some color vinyl on the
Death Waltz Records web store, but I’ve noticed a few other UK and European
distributors offering it. I can’t vouch
for any of them other than Death Waltz, but they’re out there. Death Waltz and my Bandcamp page are the best
places to get the LP on color vinyl though.
Death Waltz Records web store, but I’ve noticed a few other UK and European
distributors offering it. I can’t vouch
for any of them other than Death Waltz, but they’re out there. Death Waltz and my Bandcamp page are the best
places to get the LP on color vinyl though.
I did a little bit
of poking around and from what I can tell Espectrostatic is a studio only
project. Is that true or do you play out
as Espectrostatic at all? If you do play
out, do you tour at all or just play locally at this point? If not, are there any plans to do so, or is that
not in the cards for one reason or another right now?
of poking around and from what I can tell Espectrostatic is a studio only
project. Is that true or do you play out
as Espectrostatic at all? If you do play
out, do you tour at all or just play locally at this point? If not, are there any plans to do so, or is that
not in the cards for one reason or another right now?
So far it’s only been a studio project, but my wife Alyse,
who is also in the Hex Dispensers, and I want to work out a live set. I really don’t want to do the “guy gesturing
dramatically at a laptop on a folding table” type of live show – so there’s
some logistics to work out before it actually happens, but it’s definitely
something we’d like to do.
who is also in the Hex Dispensers, and I want to work out a live set. I really don’t want to do the “guy gesturing
dramatically at a laptop on a folding table” type of live show – so there’s
some logistics to work out before it actually happens, but it’s definitely
something we’d like to do.
Do you give a lot
of thought to the visual aspects that represent Espectrostatic to a large
extent to people? Stuff like flyers,
posters, shirt designs, cover artwork and that kind of thing? Is there any kind of meaning or message that
you’re attempting to convey with the visual side of Espectrostatic? Is there anyone that you usually turn to in
your times of need when it comes to the visual side of Espectrostatic? If so, who is that and how did you get hooked
up with them originally?
of thought to the visual aspects that represent Espectrostatic to a large
extent to people? Stuff like flyers,
posters, shirt designs, cover artwork and that kind of thing? Is there any kind of meaning or message that
you’re attempting to convey with the visual side of Espectrostatic? Is there anyone that you usually turn to in
your times of need when it comes to the visual side of Espectrostatic? If so, who is that and how did you get hooked
up with them originally?
I give great deal of thought to the visual aspect. It’s kind of inferred that this is music
intended to accompany visuals. As far as
the packaging and presentation go, I really put a lot of stock in that. I’ve been fortunate enough to have some
incredibly talented folks involved on the visual front. Jason Willis designed the first LP cover, and
even went so far as to make a music video with the 3-D art assets he’d built
for the cover illustration. Jason and I
collaborate on a few different things from time to time, and he’s helping out
with a video I’m assembling for Escape From Witchtropolis. The incredible cover illustration for Escape
From Witchtropolis was done by Drazen Kozjan who some people know from his
comic The Happy Undertaker, that guy is so skilled. I’m just thrilled with what he came up
with. He was nice enough to let me use
another one of his illustrations for The Daemonum EP. As far as meaning, it’s kind of all over the
place, but the guiding aesthetic concept for this project has always been
“Occult Science-Fiction” and the myriad of interpretations that can spinoff of
that.
intended to accompany visuals. As far as
the packaging and presentation go, I really put a lot of stock in that. I’ve been fortunate enough to have some
incredibly talented folks involved on the visual front. Jason Willis designed the first LP cover, and
even went so far as to make a music video with the 3-D art assets he’d built
for the cover illustration. Jason and I
collaborate on a few different things from time to time, and he’s helping out
with a video I’m assembling for Escape From Witchtropolis. The incredible cover illustration for Escape
From Witchtropolis was done by Drazen Kozjan who some people know from his
comic The Happy Undertaker, that guy is so skilled. I’m just thrilled with what he came up
with. He was nice enough to let me use
another one of his illustrations for The Daemonum EP. As far as meaning, it’s kind of all over the
place, but the guiding aesthetic concept for this project has always been
“Occult Science-Fiction” and the myriad of interpretations that can spinoff of
that.
With all of the
methods of release that are available to musicians today I’m always curious why
they choose and prefer the various mediums that they do. Do you have a preferred medium of release for
your own music? What about when you’re
listening to or purchasing music? If you
do have a preference, what is it and can you tell us a little bit about why?
methods of release that are available to musicians today I’m always curious why
they choose and prefer the various mediums that they do. Do you have a preferred medium of release for
your own music? What about when you’re
listening to or purchasing music? If you
do have a preference, what is it and can you tell us a little bit about why?
Vinyl is the ideal format.
Aside from some kind of implied legitimacy, there’s just something so
great about the big cover artwork and holding the thing in your hands that no
other format can offer. Plus, the geeky
color vinyl thing is just super cool.
CDs themselves are basically just landfill garbage in this digital age,
but I do like how the Espectrostatic CDs come in mini cardboard LP-type
sleeves. I just think the artwork on
both LPs is worthy of being seen at the intended larger size.
Aside from some kind of implied legitimacy, there’s just something so
great about the big cover artwork and holding the thing in your hands that no
other format can offer. Plus, the geeky
color vinyl thing is just super cool.
CDs themselves are basically just landfill garbage in this digital age,
but I do like how the Espectrostatic CDs come in mini cardboard LP-type
sleeves. I just think the artwork on
both LPs is worthy of being seen at the intended larger size.
I grew up around
this massive collection of music and both of my parents encouraged me to listen
to just about anything that interested me growing up. I think it was my dad taking me out to the
local shops to pick up random stuffs on the weekends that left the biggest
impression on me though. I developed
this kind of ritual for listening to music and it became this kind of obsession
that I’ve never fully gotten over. I’ll
rush home with an album, grab a set of headphones, read the liner notes over
and over again, and stare at the cover artwork just devouring everything in
front of me letting the whole experience transport me off to another universe
of sorts. Having a physical object
that’s concretely connected to the music that I’m listening to that’s always
made for a much more complete listening experience for me. Do you have any such connection with
physically released music?
this massive collection of music and both of my parents encouraged me to listen
to just about anything that interested me growing up. I think it was my dad taking me out to the
local shops to pick up random stuffs on the weekends that left the biggest
impression on me though. I developed
this kind of ritual for listening to music and it became this kind of obsession
that I’ve never fully gotten over. I’ll
rush home with an album, grab a set of headphones, read the liner notes over
and over again, and stare at the cover artwork just devouring everything in
front of me letting the whole experience transport me off to another universe
of sorts. Having a physical object
that’s concretely connected to the music that I’m listening to that’s always
made for a much more complete listening experience for me. Do you have any such connection with
physically released music?
I used to do that when I was younger, but not as much any
more. I do still collect records, and
enjoy them, though. In our house, we
spin records mostly on the weekends during breakfast and listen to digital
formats the rest of the time.
more. I do still collect records, and
enjoy them, though. In our house, we
spin records mostly on the weekends during breakfast and listen to digital
formats the rest of the time.
Like or it not at
this point digital music is here in a big way right now. I personally think it just depends on how you
look at things, you kind of have to roll with the punches in the music industry
and I think that just about any situation is going to have upsides and
downsides, it just depends on how you deal with it. On one hand, people are being exposed to all
this amazing music, not just from around the globe but they’re even becoming
more aware of the music in their own hometowns.
On the other hand though, while people are being exposed to all this
amazing music for the first time, they’re not really that interested in paying
for it. While people’s interaction and
relationship with music is constantly changing and evolving, a lot of people
have started to see music as this disposable form of entertainment, a kind of
free soundtrack to their lives that will always be there whether they pay for
it or not. As an artist during the reign
of the digital era, what’s your opinion on digital music and distribution?
this point digital music is here in a big way right now. I personally think it just depends on how you
look at things, you kind of have to roll with the punches in the music industry
and I think that just about any situation is going to have upsides and
downsides, it just depends on how you deal with it. On one hand, people are being exposed to all
this amazing music, not just from around the globe but they’re even becoming
more aware of the music in their own hometowns.
On the other hand though, while people are being exposed to all this
amazing music for the first time, they’re not really that interested in paying
for it. While people’s interaction and
relationship with music is constantly changing and evolving, a lot of people
have started to see music as this disposable form of entertainment, a kind of
free soundtrack to their lives that will always be there whether they pay for
it or not. As an artist during the reign
of the digital era, what’s your opinion on digital music and distribution?
Well it’s complicated, isn’t it? I love the accessibility and convenience of
music acquisition these days. People can
be easily exposed to such a wide variety of music. But the real casualty for me has been the
evaporation of the local independent record stores in smaller cities. The renewed interest in vinyl seems to be
helping their return to some extent. To
be fair, it’s never been easy for independent musicians to actually earn a
living doing it and it’s always been more of a labor of love for them. The people who suffer most from this
environment are the big mainstream acts and the people on the business-side of
the music industry and I can’t really say that breaks my heart.
music acquisition these days. People can
be easily exposed to such a wide variety of music. But the real casualty for me has been the
evaporation of the local independent record stores in smaller cities. The renewed interest in vinyl seems to be
helping their return to some extent. To
be fair, it’s never been easy for independent musicians to actually earn a
living doing it and it’s always been more of a labor of love for them. The people who suffer most from this
environment are the big mainstream acts and the people on the business-side of
the music industry and I can’t really say that breaks my heart.
I try to keep up
with as many possible bands as I can but with all the amazing stuff out there
and the unprecedented access that we have to it, it’s hard to even know where
to start sometimes. Is there anyone from
your local scene or area that I should be listening to I might not have heard
of before?
with as many possible bands as I can but with all the amazing stuff out there
and the unprecedented access that we have to it, it’s hard to even know where
to start sometimes. Is there anyone from
your local scene or area that I should be listening to I might not have heard
of before?
There’s a ton of bands here in Austin. I just can’t keep up. A few that come to mind are Survive, The Ugly
Beats, Crooked Bangs, The Suspirians, and Lazerhawk, but I’m terribly,
embarrassingly, out of touch with what’s going on in my own city these days.
Beats, Crooked Bangs, The Suspirians, and Lazerhawk, but I’m terribly,
embarrassingly, out of touch with what’s going on in my own city these days.
What about
nationally and internationally?
nationally and internationally?
Some current favorites are Pye Corner Audio, Chelsea Wolfe,
Matchess, Mogwai, Verma, Haxan Cloak, Umberto, The Limiñianas, Wolves in the
Throne Room, Ty Segall, Pallbearer, Bohren & Der Club Of Gore, The Advisory
Circle, Grave Babies, Bersarin Quartet, Pampers, Pop. 1280, Blanck Mass,
Tobacco, and True Widow. There’s also
been some great film and TV scores this year: The Guest and Cub by Steve Moore,
It Follows by Disasterpeace, Starry Eyes by Jonathan Snipes, and The Returned
(Les Revenants) by Mogwai; plus the big shots like The Knick by Clint Mansell,
and Gone Girl by Reznor/Ross.
Matchess, Mogwai, Verma, Haxan Cloak, Umberto, The Limiñianas, Wolves in the
Throne Room, Ty Segall, Pallbearer, Bohren & Der Club Of Gore, The Advisory
Circle, Grave Babies, Bersarin Quartet, Pampers, Pop. 1280, Blanck Mass,
Tobacco, and True Widow. There’s also
been some great film and TV scores this year: The Guest and Cub by Steve Moore,
It Follows by Disasterpeace, Starry Eyes by Jonathan Snipes, and The Returned
(Les Revenants) by Mogwai; plus the big shots like The Knick by Clint Mansell,
and Gone Girl by Reznor/Ross.
Thanks so much for
taking the time to talk to me so in-depth about your music and background. Since you were so generous with your time I’d
like to open the floor up to you for a second here. Is there anything that I could have possibly
missed or that you just want to take this opportunity to talk to me or the
readers about?
taking the time to talk to me so in-depth about your music and background. Since you were so generous with your time I’d
like to open the floor up to you for a second here. Is there anything that I could have possibly
missed or that you just want to take this opportunity to talk to me or the
readers about?
Not really, this has been very thorough. I thank you for your interest!
© Nicole Truly
DISCOGRAPHY
(2012) Espectrostatic
– Skeletactical – Digital – Self-Released
– Skeletactical – Digital – Self-Released
(2013) Espectrostatic
– Espectrostatic – Digital, CD, 12” – Trouble In Mind Records (Limited to 200
copies on Coke-Bottle Clear Vinyl Wax)
– Espectrostatic – Digital, CD, 12” – Trouble In Mind Records (Limited to 200
copies on Coke-Bottle Clear Vinyl Wax)
(2014) Espectrostatic
– Phantominom VGS – Digital – Self-Released
– Phantominom VGS – Digital – Self-Released
(2014) Espectrostatic
– The Daemonum EP – Digital – Self-Released
– The Daemonum EP – Digital – Self-Released
(2014) Espectrostatic
– Escape From Witchtropolis – Digital, CD, 12” – Trouble In Mind Records (Death
Waltz Exclusive limited to 100 copies on Smoke Coke Vinyl Wax)
– Escape From Witchtropolis – Digital, CD, 12” – Trouble In Mind Records (Death
Waltz Exclusive limited to 100 copies on Smoke Coke Vinyl Wax)
Interview made by Roman Rathert/2015
© Copyright http://psychedelicbaby.blogspot.com/2015
© Copyright http://psychedelicbaby.blogspot.com/2015
