Layers

Much of Dans les arbres’ and Huntsville’s music is layered. It consists of multiple layers of sounds. A layer could be formed by what one of us is playing, or it could be an aggregate of what two or more members play, or by parts of what two or more players play. Each layer may appear to be independent from the others, and live their own lives, with their own narratives, their own developments. But layers also merge, and they evaporate. Think of the layers as clouds drifting. Gliding multi-directionally, simultaneously, patiently. Most often slowly.

I get more aware of the content of the layers when…
…new layers are added or existing ones are removed
The notion of layering is most evident to me when…
…new layers are added or existing ones are removed

Not so much when they are already established and move around, because at that time I am often confused (which is positive) if two layers are the same one; if components (composites) in one layer actually belong in two separate layers; if we are cooperating, working on the same layer or not

New layers emerge out of existing (fade)
or out of nothing (fade)
Existing ones evaporate (fade)
Fast or slow. Most often slowly 

Note to self: clouds can also move fast, you know! 

Usage

1. From Dans les arbres at the Final Artistic Presentation, 22 April 2015. Ingar’s circular movement’s on the timpani creates one layer, Christian’s and Ivar’s independent loops another, Xavier is jumping between shading and active layers:

2. For the entire track ”(ING)” on POND, the active percussion, the slow melodic bass, the bowed guitar and the pedal steel guitar are on separate layers. Here is an excerpt from the opening section:  (00:30) They gradually drift closer, almost bleeding into each other. From the middle section:  (00:08) Towards the end of the piece, the bass and the percussion are clearly relating, rhythmically. Bass and pedal steel guitar corresponding harmonically:  (00:29)  

3.  
The layers of video and sound in Video Ensemble is a direct derivate from the layering in the ensembles’ music. I wanted to translate the ensembles’ layering into solo work, by the use of multi-track recordings. I wanted to record and compose pieces based on separate recorded tracks of myself. I also wanted to illustrate the slowness and how the layers relate and correlate, and I figured this would be more easily understood by non-musicians if I filmed what I played on video, and applied that same kind of thinking into video.

Video Ensemble developed into a separate artistic product during this process. 

It turned out to be more interesting, more compelling when I left the idea of pure documentation, when I realized that the visual illustration of the layered sounds was more than just an illustration. Not only was it more, it was something else. It was the factors that made the illustration deviate from what it was suppose to illustrate, that made it interesting. And that made the visual experiments part of the artistic results of the project.