Can you tell us a bit about your background and how you first got into music?
Yes, the truth of it is, I don’t remember ever NOT being a musician. A 10-year period of classical piano lessons started when I wasn’t even 4 years old. It started off with very simple music, of course, and built up from there. Those years were the foundation on which everything I’ve done since is built. My love of certain rock, dance, and world music styles all play a huge role as well, and electronic sounds always make an appearance in my stuff. So it’s truly been a lifetime of exploration into what’s possible for me to do. I’ve never sat still for very long. That’s why I am doing this now in fact. I still have a lot to say.
Growing up, who were your biggest musical influences, and how have they shaped your sound today?
After all those piano lessons, the role being played by certain rock bands drew my attention first. Not only was the music energetic, engaging and fun, it could have a dark side…an aggressive side that I really liked. Classical music is of course an endless category, but what is unique about it is its ability to create senses of awe, of grandeur, and of introspection, even playfulness. The other styles covered a great many other emotions, everything from rebellion to seduction. Because of all these influences, versatility and a wide range of emotions became something I strove to express.
You asked about big influences though. There are literally dozens, but some of my greatest inspirations have come from poeple like Keith Emerson (ELP), Chick Corea, Claude Debussy, Igor Stravinsky, Aaron Copland, Miles Davis, Herbie Hancock, (prog band) Gentle Giant, The Dixie Dregs, and creative pop bands like Level 42, The Fixx, and Oingo Bingo are bands I still listen to occasionally.
How would you describe your musical journey so far? Are there any key milestones that stand out?
So far –and it has been a long time by most standards—I’ve had a pretty sporadic music career. I played in multiple bands, both cover and original, had a progressive music trio in the 1980s called Antartica that is among my fondest memories. I played keyboards on some studio gigs, and was a producer/engineer in Renaissance Recording Company’s B room. I earned my living as producer for 14 years in fact. I learned synthesizer and midi programming, audio mixing and mastering, and I developed arranging skills just by doing it for many years. I seem to know when something is right, and also when it isn’t quite there.
What challenges have you faced in the music industry, and how have those experiences helped you grow as an artist?
The challenges are what everyone faces. First it was the impenetrable nature of the record label hierarchy. Then it was the free for all transition period once digital music files became the thing. Now it’s the sheer immensity of the global music market. I read somewhere that there are thousands of songs released every day now. It’s easy to get lost in the complexity of how things work, and become discouraged at the huge level of “competition for attention” that our modern world brings with it. If you really are a musician, and you approach it as an art form, as I do, you can’t let any of this stop you. I certainly will not.
How do you stay motivated and inspired to continue creating, especially during difficult times?
I sometimes revisit my own compositions…watch my videos, or just listen. In the past, I was looking only for flaws….things I would do differently or want to change. The releases are out though. I can only change what has not been released, right? So I have come to be at peace with that fact. I focus instead on: did my piece convey the emotional content that I intended? Does it make the right impact? I’m working with mostly instrumental music, remember, so this is key to what I do. I learn from reviewing my own stuff, as well as constantly looking for brand new music to check out. It’s always exciting, so motivation has not been a big problem for me.
What inspired you to create “That Thing You Said”? Was there a specific moment or feeling that sparked its creation?
Since all of my pieces are fusions of various styles, I looked to the late great John Barry for inspiration. He epitomized the “less is more” approach and succeeded hugely at it. Music that makes you want to pause and take in life….not be on edge so much. I had been working on an electro-r&b type rhythm section for a while, and found a way to marry the two approaches in “That Thing You Said”. All the response to that song called it a “welcome break” from my previous music (laughs). There will be more “breaks” coming for sure, but tension is a strong current in my compositions.
How does “That Thing You Said” differ from your previous work in terms of style or production? Did you approach this single differently?
In coming up with my series “STIR: Soundscapes Evoking Realities Only Imagined”, I needed a guiding principle. With such a diverse and eclectic collection of musical pieces, what holds them together as a group? That thing is that I made sure that most of my melodic phrases were relatively simple. It’s remarkably hard to come up with original yet simple melodies, so much has already been done. The point for me is to convey a strong evocative sense, with as few notes as possible. I stray from that a little here and there, but that was one of my “rules” in producing the STIR series.
What was it like in the studio while recording “That Thing You Said”? Were there any memorable moments or unexpected challenges during production?
The production process for me is most challenging because I have so many options for creating sounds and playing virtual instruments. From the very start, I am working with a blank slate, so the process of choosing a sound and how to play it is a key part of this. It can be daunting finding the right solution to accomplish what I have in mind, and my ideas evolve as I compose and produce stuff, so sometimes it feels like it will take forever. Then suddenly there’s a eureka moment when things take shape and I know it’s going to work.
What role do your fans play in your music-making process? Do their feedback and reactions shape your creative direction?
No, this has not been much of a thing at this point. I have gotten a huge array of glowing reviews from critics, writers, and playlist curators though. Since I am creating music that has almost no words, and doesn’t fit into a box, this will remain a difficult thing until my catalog is complete and I’m moving on to the next series, which I plan in 2025.
How has your music evolved over time, and where do you see it heading in the future?
My musical life has always been about looking around the corner at what else I can do. What styles can I combine to achieve a new sound? As I’ve grown throughout my life looking at things this way, the sheer number of options and “maturity” shall we say, of my productions has reach a level that I could never do without all the previous explorations. I see this growing into a catalog of original music that is perfectly suited for visual media: film, tv, animation, advertising, etc… My music is a step or two more assertive than much of the soundtracks you hear today because I want to keep it real to my vision. That said, I can—and will-be producing more “background-ish” music in the future. There will also be even more assertive music as well. The “STIR” series is currently my passion. The next series, entitle “FREED” will be even more eclectic. And much more to come!
