![]() ![]() It stemmed from that environment in school. Is there a blurred boundary between say: fan, friend, collaborator? It’s just more immediate it’s what you wanted to do first when you didn’t quite know where it was going to end up. Marco: We wanted to capture the original “spill” – say, the first vocal take. For example, a voice note he did on the bus trying to get an idea for a melody down. So maybe in this mixtape it’s the same thing, but the images inspire the arrangement of it?įelix: With the samples for the mixtape we treated them in the same way, but now they’re all Marco’s recordings from when Glows was a solo project. And I did the same thing on the visual side. Marco built a library of samples from different soundscapes and library music. SOUNDCLOUD LISTEN LATER ARCHIVEMarco: They didn’t like it in the end! It needed to be more “cosmic”… Still, we’ve got a lot of love for them, and we still work with them.įelix: The process that went into this mixtape is really the same thing that we did for the installation – which is building an archive of samples. And then we ended up getting commissioned to do an installation for the Royal Academy. ![]() The first things we did were art gallery / live music events. And then you feel: wow, I can’t believe you can actually just do that.įelix: For a number of years it was solo thing, but during that time we’d been working together. My goal when I was younger was to just make a song. Marco: You’d make a weird demo and put it on SoundCloud, the next day everyone would be like: ah what a tune! Then people would play it at parties, and you’d listen to it on the bus home, and everyone would be sharing materials. It built up an atmosphere of people being excited to make stuff. That’s where I met Asha and the others from Sorry, which I then joined.įelix: They really managed to instil a culture of: it’s great to be proactive, interested, and curious in the world. Our school had a real focus on people expressing themselves in any kind of way – loads of people in that school ended up having gone on to do stuff. Marco: We met in sixth form, and became friends quickly. What’s the supervillain origin story of Glows? I don’t think I would have gotten into music if it wasn’t for that. Especially with DAWS, you’re in the macro, zoomed-out view from the get-go. It reminds me of that reverb device in Ableton Live, where they record the echo of certain rooms for you to use…įelix: …the specific acoustics of the space? It’s interesting that you mentioned “architecture” as well, because a lot of the thought process that led me into doing this was through thinking about arranging more visually – spatially, almost. And if you were to be able to do that, what would be the sound that you’d make for that situation? With this : I snuck into Euston Station in lockdown and thought that would just be an amazing place to play sound in. I guess the third reference would be places. But some of them are more like: well, if we’re making a bass sounds, I want it to sound like that. It’s more like energy or atmosphere. ![]()
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