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Watch A Deconstruction Of ‘Unfinished Sympathy’ At Ableton Loop, Berlin With Point Blank Music School By: Deep House Amsterdam - Deep House Amsterdam Welcome to the latest deconstruction from Point Blank, where lead course developer Ski Oakenfull takes a track apart and rebuilds it piece by piece. Recorded at Ableton Loop where Point Blank featured as a partner on the programme, Ski went to town on perhaps the best single of the 90’s: Massive ... http://www.deephouseamsterdam.com/watch-deconstruction-unfinished-sympathy-point-blank-music-school/ #AbletonLoop, #Classes, #Galiano, #Jamiroquoi, #MassiveAttack, #MusicProduction, #MusicSchool, #PointBlank, #PointBlankMusicSchool, #School, #SkiOakenfull, #UnfinishedSympathy, #ValerieEtienne

#Ableton Loop #classes #Galiano #Jamiroquoi #Massive Attack #music production #music school #Point Blank #Point Blank Music School #school #Ski Oakenfull #Unfinished Sympathy #Valerie Etienne #Gear

ACOUSTIC SIGNALS

FS: Can you tell me some of your influences?

VO: Oh gosh. I’m always bad at answering this question. I don’t even know where to start because I listen to such a broad range of music. Ani DiFranco and Bjork were big influences on me when I was growing up. Sylvan Esso may be my biggest influence right now. I just saw them in concert. They’re a duo, producer and singer, and she’s an incredible songwriter. It’s somewhat dance music but really quality songwriting. Also the rhythms of Tune-Yards. A lot of trip-hop like Portishead. I just got to see Hamilton, so I’m listening to the soundtrack nonstop and I listen to all the artists on the Hamilton mixtape, I definitely have some hip hop influences.

I don’t have a top 3 in terms of influences right now. Kimbra is big influence on me so it was cool to see her speak at Loop. My friends are very influential on me, especially when they’re pushing hard and putting music out, producing. I’m part of 2 groups -Women Beatmakers & Female Frequency- both challenging yet inspiring.

Female Frequency creates albums that are made entirely by women. All the songwriters, the instrumentalists, engineers and singers. Even the studio owners are women. I’m going to work on remixing one of Female Frequency’s recent releases. I’m trying to get involved more with actual releases that women are involved with. I’ll be on the next Female Frequency album, producing a track by myself - maybe my first official solo production?

When it comes to production, I usually co-produce. I’ve produced things for placements or to pitch but I haven’t released anything official under my name that I produced by myself, yet.

FS: At what point did you feel you wanted to become a singer?

VO: Well, I’ve been singing since I was like 4 so I don’t think there was any kind of light bulb that went on where I was like “Oh I should be a singer.” As a toddler, I distinctly remember singing to the painter who was painting my mom’s bathroom. I was on stage by 5, doing plays, then later musicals in high school and college. I did stop music for a while because I worked on grassroots campaigns for environmental and social justice. I missed music, so once I started learning songwriting and guitar I felt like I had come back into my own. I wrote about justice in my songs too in different ways and try to have an impact that way.

FS: What kind of singer do you consider yourself? Folk?

VO: Definitely not anymore. My style as I call it is Electro-alt-pop. That pretty much covers the range of things that I do. I don’t write “shiny” Pop, like Katy Perry. But it’s a pop structure: there’s verses, choruses, usually a bridge. To me that’s Pop. When I go to these electronic shows like in Berlin, it’s different. I wouldn’t call myself “electronic” exactly, even though I use electronic elements and I work in Ableton. When I heard some of the women from Female Pressure perform, I was like ok, I don’t do that kind of electronic music. That’s often way more experimental, too.

After Berlin was when I defined myself as a Pop writer. Took me a while to call myself that - for one, people have this thing about pop. But it’s really such a broad genre and I’m proud to be able to write a concise, catchy song.

I wouldn’t call my music folk, though some of it may be political, and some of my influences are folk, but I rarely play acoustic guitar live, for example. I sometimes write on acoustic guitar but I always go back to my electric guitar and I now always go back to some kind of electronic production.

FS: So you made a transition at some point?

VO: Yes, just within the last couple of years… With my old band, I was doing alternative rock but then I started exploring more electronic production. Sometimes I miss all live instruments for sure, but I think this is the genre that’ll I’ll stick to for a while. “Electro Alt-Pop” covers the Alternative side of me with electronic influences and the Pop song structures with catchy melodies.

FS: What about another musician would make you want to collab?

VO: Thinking about the musicians that I collaborate with now, I have to feel super comfortable around them. So I tend to work with close friends. But the last album I released I didn’t really know the co-producers well, initially. Working with them over the course of a year, I of course got to know them. Now, if I’m starting on a production myself I’ll probably give it to somebody else to work on back and fourth, I’m usually going to pick somebody I’m already comfortable with.

The most important thing for me is that I don’t feel stupid bringing up an idea or doing something that doesn’t sound good. When you’re working on music, its ok if it’s bad at first, so I have to feel comfortable brainstorming or working on stuff that won’t be perfect at first. So I collab with this producer Audible Doctor, who’s more established than I am but I feel comfortable working with him. I know that he’ll appreciate my ideas and where I’m coming from, even if he’s got more production experience.

So, that’s one thing: feeling comfortable. Then there’s their talent and skill. I have to like their beats. And they need to be hard workers because I work really hard and anyone who I work with is most likely going to be working really hard along-side me, so…

FS: How do you come up with most of your song titles?

VO: Most of the songwriters I know come up with their song titles first. That’s a very natural way of writing Pop and Folk. I think it’s a really strong way to write. Still, I tend to do it the other way around. The idea is to keep a journal with you all the time, where you write song titles whenever you think of them - and draw from that list when you have a chance to write a song. Sia, who top lines a lot, does that. It’s a really good way to do it. But right now for the most part I come up with the song titles from the choruses.

“Wake You,” my EP title, and most of my album titles, come from a lyric in the song. My last album was called “Fires and Overturned Cars,” which is a lyric from my song “Incite Riot.”

FS: What instrument do you feel compliments your voice the best?

VO: I would love to have a keyboard player in my band, again. In terms of songwriting, genre and style along with the sounds that I want, they come more from the synth world than the guitar. But, I love guitar and I’m never going to stop playing it. I’ve taken a break from it, though, to work more on my production, but I still play guitar at all my shows. I also really like writing to drum beats. And to other vocals, writing more layers than record over that.

It’s hard to say that any one instrument makes my voice sound better. I think it’s more of the sound or rhythm that I’m writing to. I write to tracks for film and tv, and learned I pretty much can write to anything.

FS: Lets get into performing. How has performing helped your songwriting?

VO: That’s a great question. I tend to be more inspired to write when I’m performing more. I practice more before the performance to get ready and get in the head space of a songwriter and artist. It keeps me in that space so I’m more excited about writing.

I’m in a bit of a transition now because of my new EP, “Wake You.” Translating that to a live performance has been really different than anything else I’ve done in the past. Now, when I’m writing I spend a lot of time trying to figure out how to perform those songs - probably too early in the process to be thinking about that- but I don’t like to use tracks live. So that’s holding me back from writing new material a little bit. It’s going to take time and experience producing more tracks.

The main thing about my music is that I want to keep the live instrumentation in there. I want to sure make my guitar is there. My songs often come from me sitting with my guitar and writing. But when I produce a beat and write over that, I take a really different angle to play it live. I don’t know how much I can translate my fully produced non-guitar based songs onto guitar. Sometimes it just doesn’t sound as good. My song “Call You My Own” was written on guitar and then we manipulated it so much you can’t really tell- but that one I still play the whole song on guitar live.

FS: How has New York influenced your music?

VO: Oh my god, it’s probably the number one influence on my music right now because of the people that I’ve met here. When I first moved here in November 2012, I went to shows every night to meet people. Compared to San Francisco where I lived before, it seemed that the music was edgier, harder-hitting which was what I was going for. Also I got involved in Women Beatmakers and Female Frequency. I met so many different producers and felt really empowered to be able to produce myself because I saw all these other women doing it. That’s a huge part of why I make the music that I do now.

And all my collaborators are here now. The reason I have a side gig now writing for T.V. and film is because of someone I met here who runs a music library. There’s just so much opportunity for musicians. It’s hard to live here, it’s really expensive but the quantity of the music here and the quality of musicians has pushed me to be a better musician. It’s a constant hustle here but that’s my personality anyways. It’s inspiring to see so many other people hustling so hard, too.

FS: What are some other places you want to perform at?

VO: I’m dying to perform in Tokyo, not for any good reason but wanting to go there, and play in a really different place than here. I have a friend there who says I should just come and play. But mostly, I want to have longer and bigger tours around the US. Of course, I would love to perform in Europe. I want to perform everywhere but I think the next steps are getting my show together - so I can put on the best show possible and represent my music in the best light, and so I can also play everything from a house concert to a large venue. That goes for gear, too - What’s the most minimal I can bring and what they can provide in order to put on a really good concert in someone’s house, for example.

I always want my show to be really great.

FS: How was it performing in Europe?

VO: Berlin was awesome. I was definitely still working out the kinks playing Ableton PUSH Live. But it was really cool. I pulled together a night with Female Pressure and Female Frequency. Female Pressure is an international group of female-identified producers. I met them through a friend that lived in Berlin for a while. I put on a showcase of about six producers. I performed with my bass player. I back her up for her songs and she backed me up for my songs. That was a really awesome night.

Then we played another show that was only for headphones. The entire audience only had headphones on. Have you ever heard of this? It’s like a silent disco. But everybody was sitting, watching and listening through headphones only, while we had headphones on too. It was really a great opportunity for sound designers and mix engineers that have a perfect mix. I don’t know its not as great for live instrumentation, but it was a cool experience and it was fun to take your headphones off and just watch. I definitely want to get back to Europe and play more of Berlin, too.

FS: You want to speak on Loop?

VO: Loop was amazing. Last year was the first year that I went. It was incredible to meet so many other producers. Its not really a scene that I’ve been in. So it was inspiring being with producers from all around the world. There was some really cool workshops, especially the one where we all got to work on each other’s beats. We would listen to someone’s beat and then work on it in Ableton. It was called “Production Carousel.” So we got to work on five different producer’s beats and five different people worked on my beats. Then at the end we could hear entirely different version of our own beat. Super cool. Also at Loop, I got to meet a bunch of people from Female Pressure. Obviously the shows and the big panels were really inspiring.

Of course it was really weird to be in Germany during the US presidential election, that kind of put a damper on the whole trip. But the Loop Summit was incredible I hope to go again this year.

FS: How has your work as an activist influenced and helped?

VO: Well, in terms of songwriting, especially at the beginning, it influenced my songs a lot. I wrote a lot of political folk songs. At this point I don’t write a lot of political stuff but there’s definitely a theme of empowerment that runs throughout all of my songs and I think that comes from doing social justice work. I was trained as a grassroots organizer. Every independent artist has to promote themselves now, and all my marketing skills come from being trained as an organizer and running political campaigns.

FS: What’s a personal song you wrote describing your life? It could be off the recent EP or the album before that?

VO: “Call You My Own,” the first track off the “Wake You” EP, I wrote when I was doing a couple shows in Cape Cod. I was single living in New York not feeling the dating scene there. I was alone in a room where I finally had some quiet then started thinking about somebody that I reconnected with from high school. Before I didn’t feel much, but after reconnecting, I thought maybe it’s my second chance accepting this person into my life. The line “Did I wait too long?” is wondering if he’ll give me that chance. The verses are rooted in me being on the road thinking about him. Then the second verse is about seeing him in high-school then seeing him recently. There’s this weird (musically) bridge at the end, running through some memories of him. So that’s the personal story behind that song.

FS: I noticed on one of your early albums you got to work with Mystic?

VO: I was a big fan of Mystic and living in San Francisco while she was in LA. I reached out to her about I song I had called “Black and White” which was about white privilege and racism. After she read the lyrics she wrote back “This is a really important song, I would love to be a part of it.” I was friends with Ice Cube’s engineer and ended meeting her at Ice Cube’s studio to record her rapping. It was a really cool experience to meet her and talk to her. It’s still one my favorite songs that I have because of her verse and just the vibe of the whole song, the back and fourth we have at the end. It’s all live instrumentation except for a couple of loops. The producer I was working with at the time was Jon Evans, an incredible bass player.

I don’t perform it much live anymore because it’s different from what I do now. I would love to collaborate with her again. She said at the time that most people ask her to sing and rap. But I always thought of her as a rapper.

FS: What are you listening to right now?

VO: Like I said, Sylvan Esso. Also Empress Of, who producers a lot of her own stuff. Alice Smith who’s R&B and Pop, some of Phantogram. Bishop Briggs is a great artist. Feist, who’s more on the folk side of things now but used to be in a punk band. FKA Twigs. Anna Wise. Frank Ocean. Laura Mvula. Francis and the Lights. Glass Animals…

Live Setup

VO: I’m on Electric guitar with live pedals, and controlling Ableton with the Push 2 and a Softstep. My bass player plays electric bass and she has a midi controller which I think is a MPK small keyboard. She runs Ableton into the synth bass. My drummer as an acoustic drum set then he has SPD FX, which is a drum pad that he has sounds stored in so he doesn’t need Ableton. And then I have 2 to 3 soul back-up singers.

FS: Do you have anything to say to your fans?

VO: Thanks for interviewing me. It helps to talk about my process because it makes me stop and think about it. To my fans: more music will be coming! And I always love to hear from new so I want to know what you think of the new songs. If you want me to come to your town, just let me know!

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PURCHASE/STREAM WAKE YOU EP | FIRES AND OVERTURNED CARS |

FARAWAY CITY

#VALERIE ORTH #WAKE YOU EP #ABLETON PUSH #ABLETON LOOP #SONGWRITER #DJ FUCHASHOK

In this audio-visual talk recorded at Ableton’s Loop summit for music makers, Holly Herndon describes the role process plays in her creative vision. Drawing on her experience as a recording artist, her studies at Mills College and Stanford University’s Center for Computer Research in Music and Acoustics, Holly discusses the conceptual frameworks surrounding her process-based composition methods. Using audio and video examples from her recent work she reflects on how government surveillance, internet age aesthetics and collaborations with Mat Dryhurst, Metahaven and others inform her mission to capture the 'sound of now’.

#holly herndon #ableton loop