RSS
Twitter
Facebook
15 Questions
Would it be correct to say that Yard are not just a label, but actually creative partners?
That would be both incorrect and correct. For this collection of tracks there was no creative collaboration. I was simply compiling some tracks that never fit in with any other release, and yard was interested in releasing them. So we made the deal. But we've talked about collaborating on something in the future, so we'll have to wait and hear.
How much agreement and disagreement was there in selecting the tracks of „Stories of Old“ in tandem with Chris Yard?
I don't remember there being any "refusals" on Yard's side. I think he pretty much accepted the tracks I suggested. Then again, I think we started with a mere three tracks plus remixes, and it grew from there. Afterwards, Chris certainly did a good job in mastering all the tracks - which made the album as a whole come together nicely.
How closely related are these tracks which ended up on „Stories of Old“ in chronological terms?
On the one hand, they are from different periods. On the other, they have also grown and transformed over time. Some of them were meant to be on an album for plong! a few years ago, but it never happened. Instead, there was only the Missing 12" and then a few other tracks from that cancelled album were later released on Sworn and Twilight Rainfalls. Now I'm actually almost out of backlog material to pick from, and free to start working on new projects. I've deliberately not made a lot of new music the last year, just to catch up on getting all the music out that I want to have released.
After your well-received previous full-lengths, what were your main ambitions in terms of production this time?
I feel I always try to draw the best out of every track I make. During the actual creative process, I'm not always entirely sure how it will fit together in the end. I guess you could say I've worked on the last four or five albums simultaneously. and now I'm ready to set up new concepts and projects depending on what music happens to come out of me.
How did the music take shape?
Some of the tracks, like Unfold, were made in several stages with years in between. But yes, I really like to stitch the music together in big sheets. Moving through the music as though it were a three dimensional landscape, with objects in the distance moving slower than objects swooshing by in the foreground. I like to try and create miniature worlds with my music.
How do you remember the production of „Unconditional Surrender“?
It was made at a time of my life where events started to unravel in such a way that I had to surrender to the will of the universe. It was one of those times where I could feel the music almost making itself, and me just being there to deliver it. Getting into that state of true inspired flow. A moment when you almost feel a higher intelligence working through you. I thank the music for coming out of me, and I'm glad to be able to share it.
Producing for the dance floor and for concentrated listening are usually two entirely different things. How did you try to reconcile them with each other?
It's nothing I really plan to do. My music is aimed more towards the headphone listener. Dancefloors as a platform for experiencing music is well anchored in human consciousness, but for me it's just as much about the inner dancefloor.
You've mentioned that you see music in nature and architecture – in which way?
Imagine hearing the soundtrack for travelling through a city or nature. Buildings and trees passing by, patterns emerging and dissolving. Street grids become rhythms, the sky is slowly changing in nuance, like strings through a highpass filter. To me, the composition of environment translates into the composition of sounds.
Homepage: Yard Records
Homepage: Anders Ilar
Search
Related articles
Partner sites
