Voices #12
◦ “voices” is the place where we ask, artists reply and you read.
here we got:
Devin Sarno
answering some questions. We have already observed his drone / experimental work here.
[1. IDEA]
■ The A. O.: The track from “Low Endings” that we prefer is “Eyes Inside”. Can you tell us how it came to light?
► Devin Sarno: There is an overarching theme across this E.P. of exploring crescendos. “Eyes Inside” is very much that: a slow and very tense build. Around the 4 minute mark the piece begins to expand and bloom. In some ways it is an homage to Glenn Branca. Some of his early symphonic pieces (like No. 3 or No. 6) have stayed with me even after all these years. I always loved the unrelenting force he created through the use of multiple instruments driving in unison. I tried to pay respect to this approach in my own way: with one (layered) bass guitar.
[2. CREATION]
■ The A. O.: How do you usually approach composition? Do you start with a concept, a sound, a state of mind or what else? How do you generally proceed from the initial seed to the complete work?
► Devin Sarno: From the very beginning, my approach has always been rooted in improvisation. I am not a studied musician and can’t read or write music. As such, how I ultimately compose is based on feel, the moment, my state of mind. It’s always a bit of a surprise to me, honestly, where finished pieces wind up. I follow the paths that appear along the way. There is usually no expectation.
Mixing is as equally important to me as recording… the manipulation that takes place in that process can change the trajectory of things entirely.
[3. FEEDBACK]
■ The A. O.: What do you hope listeners feel or experience when engaging with your music?
► Devin Sarno: Fundamentally, I simply hope for a degree of patience when engaging with my music. There tends to be a fair amount bubbling underneath most of my compositions that can reveal themselves if given the opportunity. If you have the inclination to sift through the layers, I hope it’s ultimately a rewarding or provoking listen.
[4. IDENTITY]
■ The A. O.: In a world saturated with digital music content, how do you try to keep your sound distinct and personally meaningful?
► Devin Sarno: My palette of influences can be a bit all over the map, so my approach to composition might, in turn, be a bit unorthodox. I am oftentimes as influenced by a photograph, passage of writing or way of thinking as i am a piece of music, so how that ultimately comes to light tends to be filtered through a varied prism. I also tend not to be very precious about the output. The joy is really in the act of creation for me. For example, i recently put out a super limited edition cassette (“Harmony Commotion Nightmare”) that is honestly just a crudely assembled & spontaneous exercise in Dada, Musique concrète, and a healthy dose of absurdity. But on the flip side of that, the new “Low Endings” E.P. was a much more thought out, painstaking and intentional affair.
Another thing that has really been rewarding is my running “Sound Study” series (there are 19 of them to date.) These are file trade tracks with composers from all around the globe and each has been incredibly different in feel. The series in general has been a wonderful way for me to connect with musicians that i might not otherwise have a chance to collaborate with and the varied styles they all represent force me to approach each one in a very unique and personal manner.
[5. INFLUENCES]
■ The A. O.: Name three albums that you consider relevant to your musical path and why.
► Devin Sarno: ○ Saccharine Trust “We Became Snakes” (1986, SST Records)
This album is a pinnacle to me in many respects: musicianship, lyric writing, ferocity. At the time it quite literally blew my mind wide open and introduced me to the intersection of Punk, Jazz, Blues and literature.
○ Low “The Curtain Hits The Cast” (1996, Vernon Yard Recordings)
A lesson in beauty and restraint. Many of these songs can bring me to tears.
○ Stars of The Lid “The Tired Sounds of Stars of the Lid” (2001, Kranky)
Having been so heavily influenced by many ambient & drone artists, it’s hard to pick just one, but i’d be remiss in not acknowledging the perfection of this particular body of work. It is something i return to often. Evocative and delicate.
[6. REGARDS]
■ The A. O.: Leave us with a quote you love.
► Devin Sarno: “Salt Water Can Fix That” (Ty Williams)