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• #Hand habits software

Have there been technologies or instruments which have profoundly changed or even questioned the way you make music?Įxperimenting with muting and drop tunings and prepared guitar has led me to find some very exciting harmonic landscapes that come through into songs. It does seem to be neverending once you start though. Now that I’ve expanded my tool box, even when it comes to guitars, I’m learning that it can be really helpful to have a few options to get more color out of a timbre. When I was on my own more, I used a lot of really cheap gear and got creative. I’ve gone through phases of feeling very indepedendent, wanting to do everything myself and make every decsion, to being extremely activated by collaboration and creative distribution and influence, heavily leaning into a more community oriented way of making music and trusting others to contribute to a recording or song. Can you describe this path for you, starting from your first studio/first instrument? What motivated some of the choices you made in terms of instruments/tools/equipment over the years?

#Hand habits software

I’m often surprised by what I can create when I don’t know what I’m really doing.Īs creative goals and technical abilities change, so does the need for different tools of expression, be it instruments, software tools or recording equipment. I used to feel very intimidated by ways of creating that I didn’t understand, and I think when I was younger I would judge them or feel as though musical or technical concepts that were overly complicated took away from the expression or artistry, leaning deeply into emotion rather than perfection.īut now I am inspired by the unknown, feel more inclined to ask questions and to learn and really approach complexities with a beginner's mind. What were your main creative challenges in the beginning and how have they changed over time? With Fun House I felt very open minded and constantly surprised by the boundaries of my own identity I had been exploring through songwriting, through narration and perspective, and I think to extricate my sense of identity and my creatitivity as two separate modalities would be to negate them both, respectively. I think to answer this question, I’d have to have a better sense of my identity in a more concrete way which for me seems to be equal to reaching the impossible, definiting divinity. How do you feel your sense of identity influences your creativity? I think the best advice I’ve gotten lately is that no matter what type of music I am making, if I’m making it - it’s in my own voice, even if I’m emulating someone else.

I think about influences and how there are infinite sources that lead to every decsion, and during deep periods of abosorbtion I sometimes forget that anything I consume on a sensory level might also be spit back out in my work. I read a Donna Harraway quote that says even our DNA is 95 percent bacteria or something … that what we consider even our own bodies isn’t necessarily ours. I think I’m constantly trying to go deeper into what I consider ‘my own’. What was this like for you: How would you describe your own development as an artist and the transition towards your own voice? I was drawn to Phil Elverum’s recordings and arrangements and felt very inspired by Liz Harris/Grouper I love the sense of curiosity and allowed mess that seems to exist in their worlds, and wanted to merge those sonic landscapes with more traditional folk songs.įor most artists, originality is preceded by a phase of learning and, often, emulating others. When I wrote the songs for Wildly Idle … and recorded them, I didn’t know I was producing in the way that I think of producers now- because that process was so explorative and insular for the most part. I was playing with a lot of songwriters, and I think I absorbed a lot of their tendencies and eventually started being drawn to the container of a song. It’s been about 10 years since I wrote my first song, which happened almost in spite of myself, being that I was in school for jazz guitar and songwriting came as an afterthought to me. When did you start writing/producing music - and what or who were your early passions and influences? What was it about music and/or sound that drew you to it? We also recently interviewed Meg Duffy as part of his collaboration with Joel Ford, yes/and. You can also visit Meg on Facebook and Soundcloud. If you enjoyed this interview with Hand Habits and would like to know more, we recommend the official Hand Habits homepage as a point of departure. No Trees Without Branches by Steven Van Betten and Andrew Rowan. Current release: The new Hand Habits album Fun House is out via Saddle Creek.Īrcana: Musicians on Music edited by John Zorn.