That's a lot of millions.
SFBG What I'm struck by on a track such as "Forever a Stranger" is the amount of teeming chaos within the seeming calm of your sound.
BVW "Forever a Stranger" definitely has more of a feeling of chaos (while still remaining somewhat calm) in comparison to the others on the album. It was only natural, as it's all about that feeling of always being on the outside, and being a stranger no matter where you are a stranger in your own life. The knowledge that no matter who you're with or where you are, you are in fact alone in the world. For me anyway, it's not only a thought that I struggle with on a daily basis, but it brings up a tempest of different emotions hence the teeming chaos, I guess. It seems like so many people around me feel so natural in being a person among others, and part of this world of ours that requires us to all interact with other people and be social animals, while in my own head, it's a great struggle. Some days I could care less and am happy being how I am, but some days I'd be lying if I said I didn't just wish I could be like everyone else or at least, how they appear to be.
SFBG "A Gentle Hand to Hold" might be my favorite track on White Clouds it's certainly the most hypnotic or even in some ways hallucinatory track. Do you aim for those qualities meditative and transportive ones in a compositions' combo of repetition and slow transformation? Can you tell me a bit about the genesis of that song?
BVW Those qualities you mentioned are my trademark, at least in the ambient I make (which nowadays is pretty much all I make). While many of my tracks may seem like they're not doing all that much on the surface, if you listen closely, you will find layers of slowly but constantly transforming elements that ebb and flow, which is what gives it that hypnotic or even hallucinatory effect.
SFBG What dictates or influences the length of a track, here and in your other recordings?
BVW There isn't anything that dictates the length of a track per se, but in my case, they are almost always very long. For me, while a track is one part of the whole story, it is its own whole part in its own right, and needs to be treated as such. It has its own story to tell and its own journey, and to me, that story should be told, and that journey taken, to its completion.
Frankly, it drives me nuts when I'm really starting to get into the story of a track, and where it's taking me, only to have it fade to silence after 3 minutes. If I love what something has to say or how something sounds, I want to get lost in it, not have it flit away in a matter of moments. I can't say it's wrong, because everyone has their own way of doing things, and whichever way the artist wants to do it is right, really. But for me, that's just not the way I work, nor could I ever. Even back when I DJed, people used to complain that I always played the whole song before mixing out just at the end. Why wouldn't I? The song was made that length for a reason. And I want to hear all of what it has to say.
Most Commented On
- Goes for the dumb ducks that - March 11, 2014
- He's fat - March 11, 2014
- Non-Workers of the world - March 11, 2014
- EarthFirst - March 11, 2014
- In my building, the new owner - March 11, 2014
- Does Michael have a mobility issue? - March 11, 2014
- 360 apartments - March 11, 2014
- We all have to lay down - March 11, 2014
- Equal application of the law? - March 11, 2014
- No, Michael is also concerned about the location of those - March 11, 2014