The Art of Embracing Movement
p going on. I’ve been in the elec- time, and it looks like one of the Does it change all the time? Can the gear you use?
t except that it keeps getting controller, keyboards, an array of er, a Wii remote, and all these things . Then I have a timbale, some more nes and my drum set, so yeah it gets
d with you. omes around with me to help me in
nt guy. You mentioned you had m just wondering what other play?
ents I play during a set are drum
kers, tambourine … pretty normal ut the acoustic guitar if I’m playing rt it’s just all the electronics during
ands … were they always in the r were you doing something else
d in before were sort of more indie kind of in a completely different ic music and doing that side of re we’d do a little bit of electronic ect was the fi rst fully electronic
inspired you to try your hand at
ock? ol I was listening to a lot of Dntl,
Totally. Yeah, the whole idea of the album was born over three or four years. It was kind of right after I had exited university. I was kind of in that mindset of trying to fi gure out what my place was in
Postal Service, and Boards of Canada, and Radiohead. Which are all electronic, but still have basis in other genres. I think that was what kind of inspired me initially to get into electronic music. Once I moved to L.A. and started getting into the dance scene, that’s what kind of inspired me to start to do the live performance thing and make a fun exciting dance experience with all the crazy electronics I was accumulating and stuff.
I noticed that you wear face paint a lot. Could you tell me a little bit about the face painting?
My girlfriend kind of started doing face paint at my shows because they’d go out to electronic dance raves, and they’d get all painted up for it. They would do that when they came out to my shows when I fi rst started playing, and it sort of caught on, people would ask for it. It was just sort of a natural progression, and then to sort of con- nect everything I got my face painted on stage too.
The album Just Movement came out about a month ago. How’s that going? Is it being received really well?
It’s been great. It’s exciting to fi nally get that thing out there. I wrote it over the course of three years or something. It was just really exciting to get an offi cial release out there. So far it’s been doing great, and there’s been a positive response so …
How was performing on David Letterman?
It was defi nitely the most nerve-wracking performance I‘ve ever done undoubtedly, so yeah, it was cool. That was part of a whole New York run that was kind of a blur, but yeah, that was crazy. It was really crazy to meet David Letterman.
I want to chat about the idea of “Just Movement” for a second. I read the whole thing is sort of a homage to your whole identity and spirituality, and the title track is based on the movement of the universe stripped down. This is an interesting concept to me ... I was wondering if you could expand on that a little?
the universe and everything. The whole just movement thing kind of started with that lyric that’s repeated a couple times through- out the album … well the fi rst song is probably the easiest to talk about in that way, it’s the idea of just movement. That the universe is just moving parts. If you want you can sort of think about it as a meaningless thing, things are just moving. And then you go from there, and that’s where the album starts. Then it fl ies through a lot of little, I suppose, philosophical vignettes and things … but the other side of it is of course the whole just movement relationship to dance music and the idea of the primal human response to music is to move your body. That’s kind of the earliest response that human beings had to organized sound. I think that it kind of traces that sort of philosophical development but simultaneously hits the choice to turn your brain off if you want and have a dance party.
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