My favorite kind, however, has always been the instrumental. Most of my stories have been inspired through music, letting my mind wander on a long commute or road trip. Even back when my friends and I used to ‘nerd it up’ around a session of table-top role-playing, we’d always supply a soundtrack to set the mood for individual scenes.
You have an undeniably amazing talent for creating industrial tracks. What got you started making music?
I got started just by being a music fan! I grew up in a very… culturally isolated rural community, music was my window to the rest of the world. I always loved the import section of record stores, it was amazing to me that a small piece of culture could travel across the world and end up in the middle of Missouri! I didn’t have internet access until my teenage years, so music was really my only way of knowing there was something else out there besides what I saw every day. My early attempts at songwriting were as much about trying to feel connected to something as they were about any musical ideas. If CD’s from Europe found their way into my possession, how far could my own voice reach?
Have you always worked solo or have you worked with others?
I’ve been in a number of different bands over the years. I’ve always tried to maintain some kind of balance between solo and group work since they require (and develop) different sets of skills. Up until recently, there has never been an electronic music scene anywhere near me, so any non-solo projects tended to be more on the metal and punk side of things. I actually have a project I’m working on right now with a talented singer, which has been wonderful in preventing me from staying in my pretentious and self-indulgent instrumental box!
You’ve done remixes for several Fixt artists including two of my favorites, Celldweller and Blue Stahli. Have you ever considered doing a collaboration?
I’d love to do something like that in the future, I’ve always enjoyed working with vocals! I’m not really well-known enough to get the attention of those two in particular, but I do have a literal list of people to start harassing about collaborations now that my album is finished. Hopefully, I will be able to announce something soon!
You named ‘The Luna Sequence’ after a phenomena of a psych ward that locked patients in isolation during the full moon to prevent suicide attempts. What about this attracted your attention?
It really grabbed me as a perfect picture of how poisonous our society can be to vulnerable people. We are so busy criminalizing the symptoms that we fail to notice we are also spreading the disease. It’s easy to now look back at situations like that and say that the people in authority were blind, but the same trends and systems still exist today. How often do we decide what is best for other people and strip away their voice when they try to tell us the consequences of our actions? To me, it’s a reminder to consider my actions carefully, because being 100% completely wrong about something can feel a lot like being 100% right.
What are some of your inspirations for your music?
All of the pieces of ourselves that we are afraid to bring to light and examine. I’ve always been inspired by the journey to find beauty hidden in dark places. One thing we all have in common is that we are all hiding something. At what cost do we keep these things hidden? What would happen if we showed everyone our true ugliness? Would that make us less, or more connected? Regarding actual music, I don’t really listen to a lot of electronic music. It may just be a product of being a child of the 90s, but I’ve always been really into the whole singer/songwriter thing. I experimented with writing in that style for a long time and eventually started studying classical music in an attempt to get outside of the commonly used chords and phrases. Even though it was the complexity that initially attracted me to classical music, I ended up being amazed at the simplistic vocal quality of some cello/violin players. They seemed to convey all of the same meaning of a singer, but without needing words. Since then, I’ve been inspired by people who find ways to communicate meaning without words.
What do you often focus on when recording? That is to say, what’s the thought process?
I tend to start with some kind of a visual image in mind. From there, I try to come up with ways to tell the story of the image as a series of connected moments. My thought process is really centered around trying to define those specific moments in musical terms. The moment could be anything, an abrupt change, a chord progression, a particular sound, whatever creates the image or emotion I am trying to communicate. Once those moments are defined, I can develop the rest of the song to connect the moments.
What kind of literature are you drawn to?
Stories about people finding strength in their weakness. I love a good tragedy, but I hate victims. At least half of the books I have read have been biographies or sociological works. I also have to admit that I am a huge sci-fi nerd. So, I suppose that I like stories that are either exactly like real life, or nothing like it at all!
Aside from music, do you have any other artistic talents?
I do actually have a fine arts degree, though I’m currently working in a different field. I did freelance studio work for several years, and occasionally continue to do some on the side. I’ve been focusing more on concert photography recently, though I am wanting to get back into studio work at some point. Recently, I’ve been considering doing a series of silkscreen prints based off of some of the TLS songs. I may post some pics eventually if they turn out well!
Your most recent release, Persona, has some similarities to popular video game music from the early 90’s. Have you ever considered doing work for soundtracks? (Games or otherwise)
It’s definitely something that I would love to get into! I’ve always felt that music has been undervalued in other forms of media. It’s pretty much a requirement that any big budget movie has some kind of an “epic” soundtrack, but how often is it just yet another generic orchestral arrangement with big concert hall drums, some guitar and the latest Loopmasters sample CD on top? Can you even remember the melody when it’s over? Great film music can become as iconic as the film itself. I’ve actually been reading quite a bit on game soundtrack design recently, and have always been interested in the more interactive applications, such as when the music is directly influenced by what’s going on, rather than progressing in a linear fashion.
You have a new album, ‘This is Bloodlust’, coming out April 2nd. This will be your second full album. How does it differ from your other releases?
Overall, the writing process was a lot more focused. I knew when I started the project that I was going to be doing a full length, so I spread out my time and worked on all of the songs at once instead of just finishing one at a time. Taking that different approach enabled me to view the album as a cohesive whole, which resulted in me incorporating a wider range of ideas than I might have otherwise. I also made a deliberate effort to develop some particular ideas and concepts that I had been avoiding. In the past, many of the themes I explored were based on observations of other people’s lives that paralleled my own in some way, though I rarely directly referenced my own experiences. I ended up unearthing a lot of things I had been ignoring, which was therapeutic and catastrophic all at the same time! It was actually quite difficult to finish the album towards the end, I’m very happy to be done with it!
I noticed the demo single, Parallels, has a very large range of instruments and tempos, but still manages to flow together very well. Would you mind sharing the story behind this song?
It was based off of a moment of realization when I discovered that a force I thought was opposed to me was actually just moving parallel to me. My writing process was mainly focused around the abrupt change right after the second chorus. I structured the chorus so that it felt like a long build up to something, only to violate that expectation and go in a different direction instead. I deliberately incorporated a lot of different changes to give the song a very turbulent feel.
Which of all your recorded tracks do you feel the strongest connection with? Is that a fair question to ask?
Ocean Under Light, which was the last song on They Follow You Home. The whole album was a narrative of a disgraced who is haunted by the images and voices of those who have accused her of crimes she had not committed. After experiencing this for years, she eventually started to believe and internalize the accusations, and eventually drowned herself. The imagery of Ocean Under Light was based off of a recurring dream about drowning that I had for years, which is probably responsible for my obsession with water-based imagery.
You’ve been releasing music for several years now. Any big hopes for the future?
I’d love to be able to get to a point where I can make a living writing or performing music someday. I realize that there is not much of a market for overly long and pretentious instrumental electronic songs that you can’t really dance to… but with a combination of licensing, engineering, remixing, and probably some art on the side, I hope to be able to pull it off eventually! I would also like to be able to do a live show someday. I’ve never been a fan of the idea of doing the whole DJ thing, so I’ve been working quietly on the side to develop a way to pull off the songs completely 100% live with 3 performers.
Again, I’d like to say a great big “Thank you” to Kaia for sharing some of her life and art with us. Be sure to check out The Luna Sequence. Her latest album, ‘This is Bloodlust’, is due to be released on April 2nd and is available for pre-order at Bandcamp.com.
So how about you guys? What’s your writing soundtrack?