It’s time for…

It’s time for a blogpost! Are you excited too?! Thought not!

So where were we… my first experimental short documentary for the BFI is finished. Or, as near as complete as I can envisage it. I’ve been collecting peoples thoughts and feelings on the piece for a few weeks. Organised small gatherings and screenings, mainly because I wasn’t sure what to feel about it yet. I can’t speak for anyone else, but when I finish a project I have to leave it. Let it settle, even let it gather dust, before I feel like I can return to it. This is a very annoying way to work… and I really should learn to deal with it. But when you put your heart into something so intense as writing, producing, filming and editing your own documentary with very little guidelines as to how it should present itself, it’s hard to leave the edit completely happy. There will always be moments of doubt while you attempt something completely original. That was my only guideline for myself. Be nothing but ORIGINAL.

So, I began by playing a song from an album I produced. To my ears, it can only be described as electro spaceporn music.

I played this song to two friends of mine, both music producers based in Bristol. Matthew Olden is a video artist/VJ and independent AV software developer. Recently he has been touring installations, so I felt quite lucky I was able to catch him while I could. I’ve known him almost 10 years, but we’re both so busy and in our own worlds that it’s hard to predict when paths will cross!

I wanted to talk to Matthew because he is a master at visualizing epic soundscapes. He’s been using homemade technology to change the way producers are able to use samples and input devices. He’s also been quite influential in the way I produce music too!

Suzy Condrad is a singer/songwriter and music producer I met last year while organizing music events in Bristol. After playing at various gigs for my company, and being totally engrossed in her music, I found out she had synesthesia.

Matthew gave me a rather lucid, story-teller element to describe what he was hearing.

Suzy helped construct a colour palette of sound, using shape and an emotive response linked to my music.

After the initial first listening, I took all of the descriptions of what was being heard and whacked em into the magic machine. So the graphics you can see are directly linked to the range of notes and correlating emotive response from both a synesthetic (Suzy) and atypical (Matt) music producer mind.

It’s such an odd process I’m still getting my head around it to be able to describe to people, so I hope this absurd gibberish doesn’t hinder the watching/listening experience.

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