How do you digest my comparison to Amon Tobin?
I don't mind that comparison at all in fact it is very flattering. I listened to Amon Tobin a lot. Especially his first two albums. I thought he had put himself above the crowd in his ability to implement samples into his music. The same of FSOL. These two I think outdid everyone in electronic music for a long time in their ability to truly be able to take samples, put them in a different context, and make the samples their own. They didn't just take a sample and put it over a beat. It was so skillfully edited together into their music that it sounded like that's where it belonged. It was hard to tell where one sample ended and another began.
What is your favorite sampling source?
I would have to say everything. A lot of the album contains samples from 20th century pieces as that's the road I wanted to go down. Having said that, I really don't have a favorite source or sources. Everything from Portishead, country music, tango, film soundtracks, free jazz to dub is on the album. It might just be a snare or a guitar chord, but these are some of the other sources on the album. Relates back to the first question I guess and trying to put together something out of a number of small pieces from completely different sources and make something new out of them.
Do you have a fascination with urban decay?
I don't think so. I might have had at one point but not anymore I don't think.This question made me think of LaHaine. The face of Baudelaire painted on the side of the building, looking down at the final scene taking place. Those are the only references to urban decay I would be familiar with, the writings of Baudelaire ,for example, but that's not an influence for any of the music on the album believe it or not!
Who and/or what inspires you?
Musically it would be an enormous list, as I'm sure it's the same for most producers. But the biggest inspiration is usually a more personal one, and it happens indirectly. Something you happen to be going through at the time I find becomes the biggest source of inspiration. People that are close to you in a weird way also become an inspiration. I've read this in several interviews before and its definitely true. Especially if someone produces music alone. You're stuck in a room for hours, usually dark, and there's noone else around, and for some reason thoughts of people that are close to you always enter your head. I would have to say this is a constant, this is always present no matter what piece of music I'm working on.
If you were to produce a soundtrack for a film, what would it be about?
In a way, a lot of the music on the album is a soundtrack. Every song on it has a meaning and is either based on a film or a scene from a film or a passage from some written work. So for me, it kind of is a soundtrack already. If I could choose though, I would love to do a completely ambient and dark soundtrack to a Tarkovsky film if he were alive, or for a film by Aleksander Sokurov.
myspace.com/blackfilmmusic
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