1. Rain & Static
2. Valley Of The Giants - Whaling Tale (Momentary Excerpt) [s/t]
3. Scott Tuma - Untitled 4 [The River 1,2,3,4]
4. Moondog - Cuplet [s/t]
5. Eluvium - False Readings On [False Readings On]
6. Chris Smith - Replacement (Excerpt) [Map Ends 1995-2001]
7. Billie Holiday - Please Tell Me Now (Softly Confuzzled Mix) [Collection]
8. James Ferraro - Memory Theater (Excerpt) [Marble Surf] + Chant De Meule / Milling Song - Unknown Vocalists [Music Of The Ouldeme]
9. The Ink Spots - To Each His Own [Greatest Hits] + Csengeri - Thunderstorm Field Recordings, + John Cage / Stephen Drury - Dream (Excerpt) [In A Landscape]
10. Dinah Shore - When I Grow To Old To Dream (Gently Warbled Mix) [In Person With Dinah Shore]
11. Eluvium - Regenerative Being [False Readings On]
12. The Ronettes - Be My Baby (Slightly Melting Mix) [Best Of The Ronettes]
13. Thomas Newman - OJ Savice [In The Bedroom OST] + Croatian Folk Song +
Eluvium - Drowning Tone [False Readings On]
14. Gavin Bryars - The Sinking Of The Titanic [Obscure Records Edition]
~ Interview ~
Hi Matthew. Many thanks for taking the time to speak alongside your stunning isolatedmix. Your new album is probably my favorite release of yours so far and it sounds like it is for many other people. How are you feeling about it all so far? Happy with the response? Was it easy to get this one finished out of the studio?
Thank you for saying that, and YES. It really seems like people are responding quite strongly to the album. I’m never sure what to expect but I’m genuinely surprised by the positive thoughts people are sending my way. It makes me happy to know that so many people can connect with it.
As far as getting it out and finished etc… it was a pretty difficult ride for me. I went through some bits of anxiety and distress during the process of making this one. Things are getting better now though and it feels good.
I remember reading that you holed yourself up to create an Inventions album. Where was this one conceived? How long did it take?
Yes, for the Inventions records (so far at least) we have always gone to a house on the Oregon coast and created and recorded and mixed while looking out at the ocean.
This album was made in my home studio in its entirety. I believe the process from start to finish was probably close to a year or year and a half. I do take breaks to sleep and eat and walk the dogs though. Honestly it would be nowhere near that long that if I was actually always working in the studio. Lots of time is spent waiting too. I’ve never been the type of person that can just go into a studio over a few days and complete a record that I would be happy with… or maybe I could, but I doubt it. I really like to take a long amount of time to focus and finesse things and write pieces as they come and let the songs grow and have it all take place in the studio. So doing so in my own place makes the most sense.
I see the album as a very unique sound when it comes to the majority of ambient/experimental music out there right now. Was there an overarching idea behind the album and its approach? Did you set out to make something very different?
I did set out to make something different. I feel like it is a little more aggressive than anything I’ve done in the past. It also has darker themes throughout, which is new to me as I’ve usually tried to stay in the positive spectrum with my music. The overarching ideas are themes of perspective, perception, belief, misinformation, cognitive dissonance, and confirmation bias within our individual selfs and as a society. And what these things do to the nature of the human being.
I can sense the stark contrasts, from washes of heavy drones, to piano and atmospheric orchestral elements. Can you tell us a little bit about the thinking behind this approach?
I generally don’t think to much about these things on an album basis. As the album just naturally creates itself for me. I do think along these lines on a song by song basis, though. I tend to try to have an understanding of what I’m trying to convey once I have some bare bones laid down, and choose instrumentation based off of what I feel would best communicate that feeling. Sometimes it is also just throwing a ton of things into a mix and finding out what works and what doesn’t. If I have a melody line in mind, I sometimes know exactly what I want it to be played on. But sometimes I just have to play it on lots and lots of instruments and figure out which one actually feels best and most natural.. or most confusing, if that is the feeling I want to convey.
You’re obviously a talented multi-instrumentalist; what types of instruments, software and hardware were used in the making of the album? Do you have a favorite?
I was using a great many keyboards both modern synthesizers and broken old Casio's and Yamaha's. It also involved modular synthesis, quite a few VST synthesizers, some blank tapes and statics and wow and flutter from them, field recordings, samples, and some Youtube. The modular synth is my current favorite. I’ve been enjoying using it for many different purposes for the past year or so. Beyond its application to any recordings, I just find it very peaceful to sit with and develop sounds on, and then just sit and listen for a while, and maybe make small changes, and then destroy it. It is like burning a painting after completion, or like a Tibetan Sand Mandala.