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Another interview from my past. This one was in terms of New New! festival 2009, where we had a pleasure to welcome Lusine at the times he was releasing A Certain Distance album.
L’usine means factory in French, Lusine means „Moon“ in Armenian, but it’s also a moniker of a producer Jeff McIlwan, who designes elegantly-shaped abstract electronic music. At school, he was studying 20th-century electronic music and sound design for music and film. Later, he started releasing his layered electronic compositions at Hymen and Ghostly International.
In February 2013, he’ll release a new full-lenth album called „The Waiting Room„. And to make our waiting for The Waiting Room easier, he published the first preview of his track Another Tomorrow, which you can listen to on his SoundCloud (and the whole track is below).
Friday: You have released album A Certain Distance this year. Where do you see the progress in music making from the past albums?
I‘m trying to focus more on the compositional side a little more than the sound design side of my music these days. Rather than focusing on sequences as separate layers, it has become more important for me to figure out how these layers work within a more cohesive song structure.
Friday: How your study of computer music and music design in Calarts Institute effects your work?
I learned a lot about conceptual, process-oriented music at Calarts. But, I think the collaborative aspects of my school experience have helped me most since then. Just figuring out how to work with people and how important it is to keep in mind that there are completely different ways to approach making music.
Friday: Which track would to like to make a remix of?
I assume you‘re asking about the new album. I have already remixed Two Dots, Twilight, Crowded Room, and Operation Costs, so I probably won‘t do any more remixes off this album.
Friday: You have collaborated with video artist Scott Sunn. Do you plan some other audiovisual collaborations?
I would love to. It‘s just the matter of finding the right venue, where I have a decent amount of time to work with a visual artist and the budget is there to include a visual artist and all that entails.
Friday: Considering you were a part of two film projects, what is the biggest difference between your solo music work and writing music for a movie?
The biggest difference is that with my own music, I am responsible for coming up with my own ideas, and with film projects, it‘s more about doing something that works for the scene and follows the director‘s notes.
Friday: And to wich kind of movie would you like to make your solo music work then?
I‘m not really sure. My film scores are very different from my solo music, so if someone wanted to license a song of mine for a soundtrack, it would be a very different thing than me working on music intentionally for a film.
Friday: Why do you use robotic voices quite a lot?
I like the sound of processed vocals. I like using vocals as kind of an additional instrumental layer within a song. I feel like there is quite a lot of traditional pop music out there, so it‘s nice to try to do something different.
Friday: Are you into this smooth electronic scene, or do you like huge noise as well?
I like noise if I feel like it works within a larger context. I don‘t like music that is abrasive just for the sake of being abrasive. It‘s very subjective for everyone, but I think it can be just as rewarding to work on some of these noisier textures, so I‘m definitely not against including this type of aesthetic.
Friday: What other interprets releasing on your „home“ label do you like?
I really like Matthew Dear‘s stuff, I think School of Seven Bells is doing some interesting stuff as well. And my friend Rafael (The Sight Below) has some really promising ideas as well.
Friday: What kind of sounds you really enjoy to work with?
I like to work with warm sounds with interesting textures. If I can come up with earthy textures, and still have the music sound structurally precise, this is what I prefer.