Janice Links :
Band Camp: janicekwan.bandcamp.com/
KZitem: / lifeformed
Lifeformed links:
KZitem : / @alsojanice
Bandcamp: lifeformed.bandcamp.com/music
The Questions:
Hi etwurt,
How did you translate the emotions of that scene into your composition?
- This is a tricky one, since my involvement was very gradual and unofficial, I didn't see much of the game throughout production. Although we started that way, it ended up being a creative decision for our collaboration to keep it that way. We thought it'd be interesting to see how it would impact the identity of the music as it mirrors the TUNIC story of a fox being in an unfamiliar world. So for me, specifically, I worked with descriptions, from the team and from Lifeformed. I enjoyed working this way because it meant my imagination had a lot of space to work with the more emotional element of their descriptions. Given this, I remember for "The Scavenger" imagining the little fox fighting the Scavenger boss which was described to me as driven and ruthless. For me, this wasn't just some heroic event, but a crashing and melding of desires and histories from both characters. This was one time I utilized the more traditional method of representing their voices with different instruments (flute and piano) in the track and having those instruments dialogue with each other.
Can you share an instance where you and the creative team as well as Lifeformed had differing visions, and how did you navigate that to create a harmonious outcome?
- TUNIC was the first project Lifeformed and I worked together on in person where we would edit and add on to each other's work. There were a few tracks where one of us felt more strongly about what we had written and had a vision for the track. We are both very non-confrontational and didn't want to stifle each other's creative experimentation in any way, so we danced around each other a lot when we felt differently. Through working on those tracks, we learned to be direct with each other about feeling ownership over a track or a section, and once that was said, it was almost a relief on the other person to just have to trust the other's vision.
Porous came out earlier this year, was it hard to tap back into your creative well and create a whole new project within a that time frame?
- Porous was written over the last 2.5 years, with most of the tracks coming after TUNIC's release. I find it helpful sometimes to have multiple projects on the go because it gives me something that forces me to look away from one project and refresh ears and mind, while still maintaining a good flow. In the final months of TUNIC production, though, there was no time or energy for my personal music projects. After the release of TUNIC, it was a very long time before I could work consistently on anything. The hard part is not knowing how long it will take, because tapping back into the creative well for me often has multiple stages. The first being complete rest, a full stop. The second being the gradual ramp up where I can begin doing things again, anything, mostly things I'm not good at so there's no pressure. Even though I know this is going to happen, I still try to sit down and write sometimes and some of those attempts can still be fruitful. "Porous" is the result of the latest attempts. Sometimes it feels like my journey of being an artist is just riding those waves and the music is the wake, the tiny line of water breaking as I move with the waves.
What DAW did you use for this project? What was essential hardware?
- The DAW we used for this project was Ableton, except for one track. "Secret Legend" was written in Logic because it was written before I switched to Ableton to work with Lifeformed. One piece of hardware we love is our Casiotone CT-S1. At the time, we needed something that had good piano-key feel and was small enough we could move around with. Trying to find something in the category of "midi controllers" that fit those requirements would've been quite pricey, heavy, or have lots of extra things we didn't need. Instead, we got the Casiotone, which is a piano keyboard that can also do midi. And since it's a keyboard, we could just start playing on it without opening up a DAW until we were ready to write something down. Also, it's red and really cute, which makes us want to play more. Another piece of hardware was our Sony PCM M-10, it's small enough to fit in my purse and we'd bring it out to collect sounds as we walked around. We didn't use any hardware synths, and our usage of software synths evolved over time. In some of the tracks written earlier on, Lifeformed used Reaktor and Massive, as the project continued, we made more and more of our own synths using sounds we recorded.
linktr.ee/etwurt
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