Making Mr. Man
posted January 26, 2015 #
Can you talk about the technical creation process with making this record? It has such a unique blend of instrumentation, I'm curious how you came to bring them together.
CU: I really wanted to exploit sub par virtual instruments and digital voices. One of my favorite instruments to use was an old garageband saxophone. I filtered a lot of the high end frequencies out to create a really ambiguous woodwind/brass instrument. I became really fond of the stiff, angular sound it presented. These kinds of sounds were perfect for layering and weaving a dense, kinetic auditory fabric. While the virtual instruments and voices laid the groundwork for the compositions, I could pepper in found and recorded samples, synthesizers, and real recorded instruments. I liked the obvious juxtaposition of organic content to artificial. It really brought out the stark, comical aspects of the fake instrumentation.
Can you discuss the more emotional process? Where was your head at in creating this?
CU: I was feeling very ponderous. I wanted to make music that sounded like 80's and 90's kid's show background music that gets completely out of context and control at times. I imagined that most of the music was played by a group of weak, little creatures or people. There's something really endearing and hopeful to me about that concept. The ambiguous tone of the assorted digital voices were perfect for creating a mood that seemed benign, yet magical at the same time.
You had a distinct vision for the cover art that Rachel Briggs was able to bring to light - do you feel there is a dichotomy between the sound of the record and the art or would a forest of animals make songs like this?
CU: The cover art is an incredible fit to me. The group effort of the birds surrounded by all of the ornamental details translates the music wonderfully. The detail that really ties it all together is the empty opening in front of the conductor. It's warm hue and emptiness nails the overall emotion of the album.
What's next for you? You seem to have blended Lotic Prattle and Place quite elegantly with this - what would the next Nahnee Bori record be like?
CU: I'll probably blend concepts and techniques of the past three. With each album you gain a new set of tools to use on your next idea. I've been wanting to synthesize old country music with electronic elements for a while now. I'm haunted by the idea of a lonely cowboy traversing the cosmos on horseback.
CU: I really wanted to exploit sub par virtual instruments and digital voices. One of my favorite instruments to use was an old garageband saxophone. I filtered a lot of the high end frequencies out to create a really ambiguous woodwind/brass instrument. I became really fond of the stiff, angular sound it presented. These kinds of sounds were perfect for layering and weaving a dense, kinetic auditory fabric. While the virtual instruments and voices laid the groundwork for the compositions, I could pepper in found and recorded samples, synthesizers, and real recorded instruments. I liked the obvious juxtaposition of organic content to artificial. It really brought out the stark, comical aspects of the fake instrumentation.
Can you discuss the more emotional process? Where was your head at in creating this?
CU: I was feeling very ponderous. I wanted to make music that sounded like 80's and 90's kid's show background music that gets completely out of context and control at times. I imagined that most of the music was played by a group of weak, little creatures or people. There's something really endearing and hopeful to me about that concept. The ambiguous tone of the assorted digital voices were perfect for creating a mood that seemed benign, yet magical at the same time.
You had a distinct vision for the cover art that Rachel Briggs was able to bring to light - do you feel there is a dichotomy between the sound of the record and the art or would a forest of animals make songs like this?
CU: The cover art is an incredible fit to me. The group effort of the birds surrounded by all of the ornamental details translates the music wonderfully. The detail that really ties it all together is the empty opening in front of the conductor. It's warm hue and emptiness nails the overall emotion of the album.
What's next for you? You seem to have blended Lotic Prattle and Place quite elegantly with this - what would the next Nahnee Bori record be like?
CU: I'll probably blend concepts and techniques of the past three. With each album you gain a new set of tools to use on your next idea. I've been wanting to synthesize old country music with electronic elements for a while now. I'm haunted by the idea of a lonely cowboy traversing the cosmos on horseback.