Twilight Fields is the brainchild of Canadian musician Allister Thompson. His blend of "ambient rock" with influences from progressive rock, ambient, dream-pop, psych-folk and shoegaze is some of the most intriguing and dynamic music you will hear anywhere. We sat down with Allister to talk about what inspired him to start the project, his earliest musical memories and the process of making his latest album "Our Time Is Now".
CMM-What's your first musical memory and what's the first music you heard that made a major impact on you?
Allister-Probably the first thing, other than listening to two weird British musical singing pigs named Pinky and Perky, was discovering my parents' worn-out copy of A Hard Day's Night (the LP) when I was about 7 or 8 and playing the crap out of it. But to be honest, when I was thirteen and suddenly developed a huge interest in rock music, I developed an obsession with The Police! I had all their tapes, Sting's solo albums, and even tried some Andy Summers solo stuff as well. I was really into it. I can't say that band is an influence on what I do now, though.
CMM-When did Twilight Fields start and what was the inspiration for the musical direction you went in?
Allister-I used to make music similar to this back in the early 2000s, under my own name; sixties-influenced psych folk mainly. I took a long break from my own music to play in friends' bands in the 2000s, which toured and kept me busy. I then made a solo album, Shadowlands, in 2009 and started The Gateless Gate in 2012 to make instrumental ambient/Krautrock. I had no intention of getting back into the pop singing game after that. But I knew that my skills had gradually improved and that I had a lot to give still, especially lyrically. I was partly inspired, frankly, in 2014 by discovering the music of a band called Anathema. They're a former metal band, but they now make this beautiful, emotional, cinematic music to a pretty sizeable audience. Just amazing music. Basically, it hit me like a thunderbolt, like hearing exactly what my future could have been if I'd stayed the course and kept making the kind of music I had started doing. That really inspired me to get back to saying things that I thought were important, no matter now earnest it made me sound. Mind you, I'm not saying Twilight Fields really sounds like Anathema; it's more of an intention.
CMM- Also what made you choose the name Twilight Fields?
Allister-Twilight Fields is the title of an album by one of my favorite musicians, Stephan Micus. It's apparently also the name of something in a popular video game, but I wasn't aware of that before using it.
CMM-What was the writing and recording process for "Our Time Is Now" like?
Allister-I like to come up with an idea of what I want to say...not necessarily "concept" albums per se, but I'm album-oriented. So there was a general vibe I wanted to give off, in this case about unconditional love, so I had that in mind the whole time. I list off some topics I'd like to write about. However, I generally come up with musical ideas first, build those up, then work on lyrics and melodies last. I am the entire band, so I basically just layer things as the mood strikes me.
CMM-Any particular gear you used in the making of it. (Guitars, pedals, amps etc)
Allister-Since it's a one-man project, I don't have a lot of gear-head stuff to say. I use a really good acoustic guitar by a Canadian manufacturer called Larrivée. I have a hollow-body electric guitar, the Ibanez Artist, that I've had since I was sixteen. You can make it sound like anything, really. I've had all kinds of name-brand electrics and sold them all. And my bass is a vintage 1982 Peavey T-40, once endorsed by Ross Valory of Journey! It's so heavy, you need a special elasticized strap to wear the damn thing. But it sounds as huge as it weighs.
CMM-If you could score a soundtrack for any film director who would it be and what would the film be about?
Allister-I'd love to do something for Herzog, like Popol Vuh used to do. Documentary, drama, anything!
CMM-What's the scene like in your part of Canada? Any bands or venues worth mentioning?
Allister-The scene outside of major cities in Canada went downhill for a while but is reviving with the enthusiasm of younger bands. There are a couple of good small-scale indie festivals in our town now, and some bands do come through. The local talent is good, as far as I've heard, but it's been a while since anyone got famous in the music industry from this area...I think. Since this is currently a "studio" project only, I haven't played the local scene. My history with gigging and touring all took place when I lived in Toronto, Canada's largest market. I moved here for peace n' quiet!
CMM-What direction do you see the next Twilight Fields recordings moving in and what do you have planned for a follow up release?
Allister-I do have a concept in mind. I used to write a lot of heavy material (mood-wise) about war, climate change, animal rights, all sorts of topical stuff, before turning inward to more philosophical stuff with Twilight Fields; I felt that I needed to express those more positive, personal things. However, if I have a chance, I have ideas for an album that will draw upon the same genres but be much harder-hitting, lyrically. I do not like the things people have done to the planet and to each other, not one bit, and I might have a few more things to say about that! So hopefully I do end up making that album.
Acetate "For A While" E.P. (acetate90.bandcamp.com)
French post punk unit Acetate deliver big on this debut five song E.P. Things open with the swirling sounds of "Know That Place" as it's driving rhythm and desolate approach set a brilliant foundation for the flourishing blasts of guitar feedback and noise that flow throughout the track. "Epilepsy Dance" is an even bleaker piece as the shuffling beat and rolling bass line push things further into darkness while "Lysrgic K.O" moves like an epic flood of hypnotic psych driven madness. Things pick back up again on the quick paced "Sound Of Frustration". It's reverb drenched production and hard hitting delivery sit well next to the goth-gaze filled tones of closing number "Danger". A powerful debut that equally matches it's love for gloom and doom with beautiful, thought provoking psychedelia.
Exhale Supernatural just released this tremendously impressive debut that merges mesmerizing tones and textures with mind bending beats and breathtaking soundscapes.The infectious feel of opening piece "Ether Bloom" draws you into other worldly territory as it's captivating loops are accompanied by a lush and mysterious vocal presence which continues to evolve throughout "Lachrymal Fang". A colorful wash of sound surrounds the hypnotic feeling "Eurydice" while layers of organic percussion highlight "Oblivia" and "Hypneratamachia". "Pythia" is more mechanical and a times almost savage sounding. It's got a haunting undertone to it that I absolutely love. The peaceful demeanor of "Daedal Embers" adds a welcoming touch to everything before launching back into the frantic yet lulling world of "Isarix Crane". Simply put "Lachrymal Fang" is an incredibly beautiful release. I hear something new and inspiring with each and every listen. A brilliant work of art from beginning to end.
Post Empire S/T E.P. (postempirema.bandcamp.com)
Worcester, Massachusetts indie rock duo Post Empire offer up a solid batch of bouncy, jangle pop tracks on their self titled debut E.P. The beautifully layered tones of "Beach City Beach" start things off in fine form as it's full bodied guitar chords and free spirited mood makes it a perfect track for spring. "Sugar On my Ears" is even faster and catchier and echoes the spirits of late 80's college rock while "Sensations" glides along with elegance and grace. The slow glowing pace of "Sweet Release" highlights the diversity this band is able to create throughout the E.P. It's full of shimmering dynamics that create a world of atmospheric bliss but with the a touch of an early 2000's indie rock appeal. A fun and introspective debut from these promising young upstarts.
Royal Trux "Sometimes Live (Advance Track) (Drag City)
The recently reformed Royal Trux have posted this live version of "Sometimes" as a preview to their upcoming live album "Platinum Tips + Ice Cream". The track is a fitting representation of the swagger filled, no frills performances the band are known for. The duo begin a European tour (their first in 20 years) on May 26th in Paris, France at Villette Sonique and the live album is due out on June 16th via Drag City.
Based in Wrocław, Poland Tragibotanik shine bright on their debut full length album "Big Sur". The first thing I notice and enjoy about this band is their willingness to experiment and drift out of the norm. There's a heavy "math rock" presence to these songs but it's all balanced out with solid doses of sonic noise and cleaver soundscapes. The musicianship throughout the record is off the charts and the arrangements and delivery of the songs are simply second to none. Highlights include the atmospheric yet intricate pace of "Meetings with History", the pin point precision of "The Machine Gun Sea" and the riff heavy "Dirty Postcard". "Big Sur" is a fantastic album that moves like a musical roller coaster. It's thrilling, unpredictable and challenging and hands down one of the best albums you will hear all year.
Wax Machine deliver an infectious brand of psychedelic garage rock with traces of 70's glam rock appeal. "Magic Machine" is full of colorful fuzzed out guitar tones and high energy drumming that gels well with it's bluesy vocal attack and swaggering stance. It's got a relentless swinging groove to it that never let's up and keeps you wanting more. "Holy Ripples" is an acoustic number with more of a folk feel to it. The saxophone and fluttering tempo make it rather unique and give it a very "White Album" era Beatles twist to things. A fabulous pair of tracks from one of the U.K.'s top up and coming bands.
Chris Spada and Brett Middleton began recording under the name Mariana Rivals in 2005 at art school in Brooklyn. Now living in Connecticut and California their long distance collaboration has produced three stellar releases that highlight their ambient, passionate and futuristic sound. We caught up with Chris and Brett to talk about their early musical influences, how they started playing together and the making of their latest E.P.
CMM-What music made the biggest impact on each of you as children?
Brett- When I was a kid, my mother played The Beatles in our house daily. Help!, Hard Day’s Night, Sgt. Peppers, The White Album found their way into my subconscious early on. The Beatles were music as far as I was concerned. I didn’t know much else for years. After awhile, I was exposed to Steely Dan, Led Zeppelin, CSNY and Michael Jackson among other artists. Steely Dan especially showed me just how tight and perfect a record could be.
When I started to seek out my own music, I got into U2 big time. Early stuff like October, War and Unforgettable Fire, but to me, U2’s best were the Achtung Baby-Zooropa years. The production and the way they built these huge songs from a simple guitar riff or synth line run through a very particular effect really stuck with me.
My preteen and teen years were all rock. Nirvana, Soundgarden, Stone Temple Pilots, etc and through that, I became interested in everything. Heavier stuff like Pantera, Sabbath, QOTSA, The Mars Volta, to Radiohead and all the way the way to Neil Young and pretty anything from the 60s and 70s. I was really into prog and jam bands for awhile too. I wanted to consume it all. This mentality influences me to this day. We’ll approach any given song a variety of ways before we settle on a direction. Its not uncommon for a song to have few different genre-specific versions before we say, “Ok, this is definitely more of a synth song than a guitar song.”
Chris-My parents were big into the Beach Boys, Steely Dan & the Beatles so it was a good base to start with as a kid. As a teenager I was really into punk, hardcore and shoegaze. Bands like The Misfits, Black Flag, Fugazi, Hot Water Music and The Appleseed Cast were super influential in showing me that you could make really impactful music without noodling guitar solos or unneeded complexity.
CMM-So Mariana Rivals formed when the two of you were attending art school in Brooklyn. What led to you all deciding to play music together and what were the main influences that went into forming you all's sound?
Brett-I had been playing for years by the time Chris and I met at Pratt Institute in 2002. Chris was just coming into performing and had a totally new outlook to it that I found refreshing. His approach really taught me to just let go. Chris brought all these influences and ideas to the table that I weren’t even on my radar. Particularly, punk rock, shoegaze and pretty much the entire Polyvinyl Records label roster. Because of that, I was able to loosen up and do things I didn’t even know I liked!
We started overdubbing on drum tracks I’d generally record at my parents house (they frown upon drums in a dorm room!), bounce a shitty mix, then run out to my car and take a drive in the country and blast them. We loved how these songs sounded in that car. The songs started out in a more acoustic-driven, mellow rock space, then quickly moved into a post-punk space. From there, we really started to plant the seeds for what eventually became the Rivals sound. We recorded two 8-10 song LPs and various other oddities. We also had revolving door of about 5 members over 2-3 years. Oddly, we then stopped playing together entirely for about 10 years! During this time, we both took time establish our careers, get married and have kids. I also recorded a lot with some other projects and on my own in NYC during this period.
Around 2013 we started talking about doing it again. I had just moved to California in 2012 and Chris was starting to send me some song ideas to test the waters. The first one that we really started working on in earnest was “Wasting” off our debut EP. We’ve been steadily working on new material ever since.
Chris-In my freshman year of college, the roommates were randomly assigned. Unfortunately, I quickly found out that I had very little in common with my roommates picked in the lottery. Naturally this lead me down the hall to the room that always had good music blasting. I immediately hit it off with Brett and we began to collaborate on his trusty Tascam tape deck. As Brett mentioned, we both were approaching music from different influences/angles so I attribute our sound to us fusing together our musical pasts.
When we started recording again after many years away, we had consumed almost a decade of new perspectives on music that influenced this new direction of Mariana Rivals. Bands like the War on Drugs, Craft Spells, Real Estate, Wild Nothing, and Hammock really left a sonic impression on me that absolutely changed the way we were writing music.
CMM-What was the writing and recording process for you all's new "Take/Chroma" single like? What are the songs about? Any particular gear that you all used
Brett-For me, Take/Chroma felt like a rather long, laborious record to make. Even though the final release totaled only two tracks. We started out with loftier intentions, it was going to be a longer EP with 5-6 songs. We even had most of them recorded to varying levels of completion. But then my wife and I found out we were expecting our second child and it became more difficult to balance that with career and taking on a larger Rivals effort.
Chris wrote the lyrics for both Take and Chroma. As far as meaning goes, I’ll leave that to him, but to me, Take is as close as we’ve gotten to a “love song” and Chroma is about an out-of-body experience during the apocalypse or something. Chroma is this weird mix of one of the very first chord progressions I ever wrote when I was about 12 and this sort of cosmic psychedelia not uncommon in Tame Impala songs or something from Desert Sessions. It starts in this unsettling, sparse place and then builds in a way that I find to be deeply satisfying.
The basic recording setup for each song was generally this:
We switched to Logic from ProTools before last year’s Monument and continued for Take/Chroma
DW Drumkit recorded with a 4-5 mic setup through tube preamps
Thunderbird bass sent through SansAmp pedal, recorded direct and compressed (usually heavily) in post
We have a couple of guitars: a couple of Gretschs, Fender Jazzmaster, Tele and Strat and a Gibson SG. We either record direct through a tube pre and maybe even the SansAmp pedal or we mic a couple of different amps with a variety of different mics until we find something we like. Most effects are added after.
What really made Take/Chroma different from previous efforts was our synth game. Mainly the use of Juno 106 and 60 synths. We were really able to use synths as a way to texture the mix and reduce the amount of other tracks by half. What normally would’ve taken a few guitars to achieve, we achieved in 2 synth parts. Going forward, synths are going to have a big impact on our sound.
For mix, we relied heavily on SoundToys plugins, namely Decapitator and Sie-Q. We wanted a lot of analog warmth or tape saturation and so I put Decapitator on pretty much every track. We also got into TAL reverbs and a dbx 160A compressor.
Chris-Take (to me at least) is a song about really wanting something that isn’t there. The idea that you are searching for something or someone that isn’t in pursuit of you. So it’s a bit of a creepy tune when you think of it. Chroma is a song about being disillusioned about a situation, environment you are in, someone you are around and the winding path you will go through to discover your next step. To Brett’s point, it does have an out of body vibe to it for sure.
CMM-What do you all find the most rewarding part about making music and art? Has there been a moment were you felt like everything came together all at once after years of honing your craft?
Brett-Chris and I are both musicians as well as artists and designers. That plays in heavily when we approach Mariana Rivals. We want it to be the full package. When we we were growing up, the record sleeve artwork, album notes and everything were as important as the music. We love making music but take as much pride in the artwork, website and videos too.
We have such a long history of playing together that we have a few moments where we’ve felt like things have really started to gel. Back in school we’d have those times when we looked at each other like “that’s pretty cool,” but for me, releasing Monument in 2016 made me think, “ok, now we’re getting somewhere.” I’m really proud of Take/Chroma too and I feel like our best is still yet to come.
Chris-The best part of being a designer and musician is that it really forces you to take complete control of what you want someone to feel when they listen to the music as well as see the visual art.
CMM-If the band were able to do a soundtrack for a film director of your choice who would it be and what would the film be about?
Brett-Tough question. I loved the work Survive did for the Stranger Things soundtrack and it really kick started my interest in synths again. I think doing a soundtrack to a series would be really fun. Something longer form.
Chris-I think it would be really fun project to score a movie. I’m a fan of the David Gordon Green’s movies, Prince Avalanche and Manglehorn, scored by Explosions in the Sky and David Wingo. The subtlety that the score brings to those films would be what I’m after.
CMM-The Oakland/Bay Area has always had a spectacular underground music and art scene. Any other bands and venues that you all recommend these days?
Brett-We feel a particular connection to bands like Rogue Wave, Tycho and Toro Y Moi—all bands from or transplanted in the Bay. Tycho and Toro Y Moi both started with the DIY principles we practice. Its fun to see Tycho tagging places on Instagram that are part of my daily routine and its interesting to think that we may be influenced by similar parts of the California landscape. Rogue Wave also followed us on Instagram, so we feel pretty good about that! As far as venues go, I’m into all the rehabbed theaters in California, particularly the Fox in Oakland. Not necessarily underground, but still a great space.
CMM-Any future plans for the band? Tours/recordings etc.
Brett-We’re currently demoing songs for a full length. We’ve got about 7-8 new songs right now and a few leftovers from the previous releases. It’ll be our first LP record so that’s exciting. In some ways, the songs feel like a logical progression from what we’ve done but in others they feel completely different. They feel more like sunny day music.
As for touring, it’s difficult for us to make that happen right now. I live in California and Chris lives in Connecticut and we get together in person once or twice per year when scheduling permits. We’d need to live at least on the same coast to be able to gather more musicians and rehearse regularly. We hope to try and make that a reality in a few years but only time will tell. We’re a studio band for now with the potential for a few one off shows here and there.
Chris-I’m excited at where the demos for the LP are going. Looking forward to getting together in person to get these tracked.
Like Brett said, I’d love to get our music in front of live audiences but right now it’s a bit off into the future.
CMM-Any finals thoughts/comments?
Brett-Nothing other than stay tuned and thanks for featuring us, Dave!
Niko Yoko "Something's Coming" (nikoyoko.bandcamp.com)
Paris based indie psych project Niko Yoko really get down on their debut release. Opening number "Don't Let It Go" kicks things off with it's infectious rhythm and Lou Reed like vocal stance. The jangling feel of "Something's Coming" serves as a warm ray of sunshine on a chilly Fall day while "Man Down" is a glistening rocker that harnesses a brilliance and power that's second to none. Everything comes to a close on "In The Afternoon" which showcases their spectacular songwriting style and their undeniable love for the Velvet's. An inspiring debut that is sure to be on repeat here at CMM Headquarters.
Rose Dive "Distant Days" B/W "Sunshine" Single (rosedive.bandcamp.com)
Rose Dove offer up a delightful pair of indie pop gems highlighted by a dainty vocal cadence and an array of beautiful instrumentation. "Distant Days" is an upbeat, bouncy track that's catchy and warm. The chiming guitar tones and driving beat really make it a fun listen while "Sunshine" has a bit more grit and grime to it that sits well next to it's melodic hooks that put everything over the top. These are the types of songs that will dig into your subconscious and have you humming them in your head after the first listen. An enticing debut that leaves me wanting more.
England's Sleep Cycle harness a sound that's both ethereal and powerful. The enormous riffs that flow throughout "Casualties of Distraction" and "Empires" get things started in fine form. Both pieces feature highly textured guitar work that creates a hypnotic mood and works it's way up into more intense territory. "Fornix" is ambient and eerie sounding while "Glass Hill" is more melodic and laid back and features a brilliant rolling bass line and clever in the pocket drumming. Everything culminates together on "It's There, You Just Need To Look" which is really the bands finest moment of the entire LP. The guitar tones are some of the best I've heard in a long time and make for a colorful sonic landscape that will have you coming back to hear it over and over. Things get really mechanical during "Solar" while "Living in Silence" explores a slightly darker approach that reflects elements of jazz. The blissful sounds of "Ever And Never" closes out the album with it's catchy hooks and top notch musicianship and cements the album as one of the most promising instrumental releases of the year.
J Mascis "Doctor Robert" (Howard Stern's Tribute To The Beatles Revolver)
It's no secret I'm a long time fan of Mr. Mascis work. He's been quite busy with the new Dinosaur Jr. album, constant touring, solo records and a variety of covers in recent times. Here he gives his take on The Beatles "Dr Robert" for the Howard Stern curated "Revolver" tribute album. The guitars on this are absolutely crushing as you get all the ferocious fuzz tone you would expect alongside J's slightly comatose voice we all know and love. The compilation which also features contributions from Cheap Trick and James Taylor is apparently only available on SiriusXM Radio’s Howard 101 Channel but luckily you can here J's cut here via youtube.
Leonard Cohen "You Want It darker" Single (leonardcohen.com)
The title track from Leonard Cohen's 14th studio album "delves into an unflinching exploration of the religious mind." The song begins with the sounds of a cryptic choir and a very familiar and seductive bass line. At last the voice of the now 82 year old man who's first record was released nearly 50 years ago graces us with the words "If You Are The Dealer, I'm Out Of The Game", "If You Are The Healer, It Means I'm Broken and Lame". The lyrics are as haunting as ever and it feels like Cohen's words are as much a final testament on his own life and career as they are a reflection on the current state of the world. "I didn't know I had permission to murder and to maim. You want it darker". Hopefully this will not be Cohen's final record but if it is then he is leaving us with what can only be described as the perfect goodbye.
The Flaming Lips "The Castle" Single (flaminglips.com)
The first single from The Flaming Lips upcoming album "Oczy Mlody" begins with a familiar drone that quickly dives into a thumping beat, followed by the trademark vocals of front man Wayne Coyne. The track marks a return to the more breezy laid back flow of some of the bands previous records as the music is very uplifting and magical sounding. "Oczy Mlody" means “Eyes Of The Young” in Polish and according to Coyne the title originally caught his eye because it sounded like the drug Oxycodone. The album is set to drop in January of 2017
Waldenflür is the brainchild of German musician Thomas Peterhanwahr. His latest releases "The Continuous Spectrum" and "Bright Tension" create an atmosphere and presence that seem to transport the listener to another world. We sat down with Thomas to talk about his development as a musician, his love of film and imagery and his approach to the recording process. Enjoy our conversation as well as the captivating sounds of his song "Amora".
CMM-What's the first music you remember hearing as a child and what band made the biggest impression on you?
Thomas-Definitely it all started with The Beatles for me! As a child I got highly hooked to that music and it’s still goin’ on with that. But it’s more a kind of subtle inspiration or a muse to me, less a direct influence to my music. Furthermore I’m a big fan of The Velvet Underground, Sonic Youth and Neu!
CMM-What instrument did you start to play first and what drew you to wanting to make music of your own?
Thomas-In 1989 I've started to play guitar, that’s my instrumental base until today. One year later, in 1990, I’ve started to record my own sounds. I always had that joy of playing and finally making music is just the adolescent continuation of playing with LEGO bricks as a child. That's it!
CMM-I know you have been making music for a long time. What are some of your earliest recordings and releases?
Thomas-There are many, many recordings and the oldest one is a silly, wannabe-psychedelic song from 1990, together with two friends. It’s called “Marshmallow Man” and the quality of the recording is quiet ugly, early Lo-Fi. The number of songs has increased over the years, approx. 500 unil today. Some cover versions, but mostly own stuff. In 2008 I’ve switched from magnetic tape to HDD-recording, that brought me many more options and a better quality of sound. Until now I have no official release through a record-label, but that ain’t bad. I have fun and it’s all about that.
CMM-When did you start recording as Waldenflür. What inspired the name of the project and the musical direction that you decided to go in?
Thomas-I did start recording as waldenflür in 2013. The name is a modification of the german term “wald + flur”, which means forest + meadow. it assigns to nature, which is also a great inspiration to me. Furthermore “Flür” is the family name of the former Kraftwerk drummer, Wolfgang Flür. the musical direction is inspired by a deep passion for images, like movies, paintings, dreams and memories. or just a glimpse, with a certain mystery within. and i’m well inspired by science-fiction, nature and poetry, with this peculiar kind of humor on top.
CMM-What was the recording process like for your recent releases "The Continuous Spectrum" and "Bright Tension"? What program did you use to make them and was their any particular gear that you really liked using when recording?
Thomas-It’s always the same recording process. in the beginning there’s just a guitar hookline or a beat or a certain melody. than I add some overdubs like layers of an onion and that gives makes the sound dense and cinematic. But there’s always a little coincidence within the process and so the final result is always unknown end pretty exciting.
The gear I use is very simple but really efficient. For recording and editing I use Audacity with an external soundcard and an 8-track mixer. The instrumental gear consists an amplified Daion 6-string western guitar, a concert guitar,a multi purpose keyboard, a giga delay and even sometimes an ukulele.
CMM-Your music is very cinematic. If you had the chance to write and record a score for a film which director would you most want to work with. Any particular films that have really inspired your music?
Thomas-I think my music would fit good into the films of Darren Aronofsky, but some sounds are more related to the work of David Lynch. My music was always inspired by movies, like the mysterious meditation of “Stalker” by Andrei Tarkovsky or subtle threat of “Phase IV” by Saul Bass. The futuristic tonalities of Bebe & Louis Barron, made for the sci-fi classic “Forbidden Planet” by Fred M. Wilcox, are also such an experience. A shape of music to come and it’s from 1956!
CMM-How do you come up with the imagery for the cover art of your releases? Have you ever bought an album purely based on being drawn to it by the cover art?
Thomas-All images are shot and edited by myself. Everywhere around I find places with a particular vibe, like the abandoned escalator at the Munich subway for “the continuous spectrum” or the illuminated ferris wheel at Lake Tai in Wuxi, China for “bright tension”. I love these still life sceneries, lost and calm and sometimes also inexplicable. It’s the world before we come or after we’re gone.
CMM-I can only imagine your music will continue and grow in time. Where do you see your music heading in the future and what do you have planned next?
Thomas-Perhaps I will get the opportunity some day to make a movie soundtrack or music for some kinda art installation. That would be great! I also think about live performing improvisations, kinda spontaneous wall of sound. But first I will push forward all actions to get waldenflür well-known. Furthermore I will finish my next album “wuxi” at the end of march. And the musical research continues...
