MORPHEUS MUSIC INTERVIEW - ZER0 0NE

20.01.08
     
 

Q: Can you tell us a bit about your musical history.  

My earliest exposure to music was through my father, who was a great tenor sax player in jazz and big bands. The sax was my first instrument. I've studied the arrangement styles of the great band leaders, particularly Glenn Miller, who was a self-described "craftsman" when it came to arrangement. It was only much later, in my 20s, that I developed an interest in electronic music. The great electronic groups such as Kraftwerk
have that same gift of arrangement, which I believe is one of the key elements that sets them
apart.

   Q :  How did zer0 0ne get started - what was the inspiration
  

zerO One began as a deliberate attempt at minimalism - my previous music had been much more complex, and the orchestration was much more layered. I had the notion that I could pair things down to only the essential elements such that every part could stand on its own.

     
             
Q : This is your fourth album now - what development in sound can your fans expect here?   Listeners can expect a lot of the same synth sequencing and tonality, but they'll also hear the introduction of what can only be called noise. I've become enamored with it lately, and use it in a rhythmic way. I'm also using more sampling than in the earlier releases, which adds depth to the sound. This is also my 1st CD that has been sent out for post production mastering, a process that gives "ozOne" noticeably better sound
quality than I can achieve here at my studio. I believe long-time listeners will be able to hear that it's a logical progression of sound.		   Q : Did oz0ne have a specific vision as you began the project - if so what was that?
   I decided early on that this release would be made using only software instruments.
Part of this decision was made for the sake of simplicity, part of it was a self-imposed limitation. A computer can only run so many plugins, so if my computer became overwhelmed I'd have to eliminate something. This meant that there could be little if
any extraneous music happening. There are work-arounds for this, such as recording parts to free up the CPU, but I decided not to do this.
             
Q :Did the album progress just as you had intended or were there any unexpected developments during the process?
   My expectations for this album were the same as always - that is, to apply everything I've learned so far and, at the same time, continue to experiment with new techniques in order to create something that keeps me engaged. That's a pretty vague expectation, I suppose, but I seldom have a clear vision of what I want to do. I try to stay open throughout the process - in that sense the entire process is unexpected.   Q : What are your writing/recording techniques - what makes a zer0 0ne track come to life?
   I used to hear a lot of music in my head, often in my dreams, but this isn't the case as much right now. My mind is much more empty these days which, to an obsessive thinker like me, is a very positive thing.

My general technique these days is to sit down at the computer and come up with a handful of melodic and rhythmic parts that work tightly together. At this point I'm not thinking of how they might fit together in an arrangement at all - I'm just playing things back with each other, combining them in different ways. I'll start with no more than a dozen parts at first.

I spend a lot of time on my arrangements, letting the parts take turns showcasing themselves, building bridges and transitions from one section to another. It may not be apparent, but I use a lot of randomness in my sequences, sometimes very subtle, sometimes not. The ear stays engaged in a part that changes tonally or rhythmically, even if it's repeating.

Many times a track just doesn't work for a long time. The trick for me is to refrain from getting too attached to an idea, to be willing to continue dragging things to the trash bin. Then, suddenly, with a minor change of arrangement, it comes together. It's impossible for me to describe exactly what happens, but I know it when I hear it. I've reached the summit - the rest is details.
             
 
      
Q :  Why the return to Waveform Records for this release?
   A lot of the release details for a CD have to do with timing and gut feeling. Around the time I'd finished "Psy-Fi," I received an email from Cameron @ Spiralight inviting me to submit a track for Ambienism Volume 1. He had no idea I had completed a new CD. We started talking and just hit it off. We had a similar vision for what "Psy-Fi" could be, and he had the artistic talent to pull it off. And that's how our working relationship was forged.

When the time comes for a release I just have to look at what's going to be the best avenue for it. The return to Waveform for the "ozOne" release felt like the way to go and has indeed led to some opportunities that would not have happened otherwise.

I have a great deal of respect for both Cameron and Forest, and hope to continue working with both of them in the future.

   Q : With the completed album now on release and a bit of time having elapsed since working on the music - how does it sound to you now? Is it all that you had hoped?
 		 

It usually takes a year or so before I can listen to my CDs objectively, so it's still a little early for me to fully answer that question. I can say that, even after countless listening, most of the tracks on "ozOne" work for me - I wouldn't change anything. I've worked on the remaining tracks so much that it's going to take a while before I can really hear them again.
             
Q :  Over the years what has been the most gratifying moment or experience for you as a musician?
  

When a listener emails me to tell me that they get the music, that's the best feeling there is.
One reviewer said that my music changed the way he listens to music. Another listener told me that one of my tracks helped pull him out of a deep depression. I really can't ask for any better than that.

    Q :  If money, time and all other constraints were removed - what would you like for zer0 0ne for the future - the ultimate vision?  

2008 marks the 10-year anniversary of the first zerO One release on Waveform, and I'd really like to do something special to commemorate that. Lately I've found myself in my studio, setting up my old equipment, remixing 10-year-old tracks, condensing instruments down to a portable format.
I won't commit to this, but it appears that I'm gearing up for live performance.

I'm still in the early stages, however - time will tell if the money holds out. We shall see.

 

 

           

 

Thanks to Kevin Dooley for allowing us that interview.