the deep element – currents album is available on itunes. it is released through shade:red recordings. you can find it: here but youre probably better off here
i have been meaning to share some information on the album for some time because it took a many of years, countries, people and pieces of equipment to help me put it all together. im not sure how to do this efficiently, so instead of going through it track by track, ill do it by the list i mentioned earlier in the paragraph.
the album doesnt have a definitive starting period as most things are written out of necessity from everyday life opposed to a dedicated label requested timeline. how i like to think of it is a culmination of emotions and ideas/thoughts from an abstract period of time. in this case, this album took about 2.5 – 3 years to release.
the countries i lived in during these past years were numerous and i am glad i had a means to capture some of it through music. i worked in a studio in malmo, sweden. living rooms in copenhagen, denmark. every imaginable landscape in vienna, austria. apartments in hamburg, germany. a beautiful home in nurnburg, germany. in my own studio in washington, d.c. and orlando, florida.
naturally i am influenced by the people i surround myself with. be it friends, artists, or simply acquaintances, they all affect my life. the first person id like to mention is nathanja westerheide who was with me through most of this album mostly physically but always mentally. patrik wulff let me flesh out his ideas in slysis during my time in sweden. birgit schmidt was directly behind me when i was trying to find myself on a destroyed piano in copenhagen on the track esin mire. rebecca pedro from florida let me finish her idea in smoothed before we became heartstring canvas. the gentlemen in karmakanic let me destroy their song on eternally. jonathan brodsky let me brutalize his track heavylifta while i was in d.c. sarah wielusz in chicago designed the cover. and bjork has no idea i roughed up her new world track.
and now the most exciting part: the gear. you might notice that i mustve worked in a high end recording studio to be able to play with such gear. you must also notice that i was constantly on the move to be able to use such improvised crap.
consoles/mixers: saje odyssey, mackie onyx series, various behringers
interfaces: protools hd/le systems, m-audio 410, minidisc players, ipod, teac tape machines
synths/keys: roland juno 106, doepfer a-100 modular synth, korg ms2000, kawai k3m, rhodes mkii, ehrbar grand piano, destroyed pianos,
outboard: focusrite voicemaster pre-amp, roland re-301/201 space echos, sanford and sonny bluebeard, sherman filterbank 2, sp808ex
microphones: ibook crap, schoeps mk2s/4, neumann u87/47, royer 121, sony minidisc crap, ipod crap
software: logic, reason, live, ni komplete, smartelectronix plugs
there is more, but ill leave it at that.
ive been meaning to explain this album mostly for my own sake, but also to anyone who cares to know something about my process.
if there is something i didnt answer, or something you would like to ask, please dont hesitate to send me an e-mail. it can be found at my website: here
or you can just leave a comment.