voices #34
◦ “voices” is the place where we ask, artists reply and you read.
here we got:
Euan Dalgarno
answering some questions. We have already observed his ambient / electronic / drone work here.
[1. IDEA]
■ The A. O.: The track from “uoying” that we prefer is “horrow (feat. Canaan Balsam)”. Can you tell us how it came to light?
► Euan Dalgarno: Canaan Balsam and I first connected while we were both putting out music on Modern Obscure Music. Since we’re both based in Edinburgh, it was only natural that we started exchanging ideas, tracks, stems—and the occasional beer. When this track called for a bit more grit, I gave Canaan a shout and he sent over a few pad layers, some of which had been run through a RAT distortion pedal, giving the track just the edge it was missing.
[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?
► Euan Dalgarno: The process has evolved a lot over the years — each album tends to take on its own approach. When I first started, about 90% of the core ideas began on the piano. I’d write short pieces, then transfer them to the computer where the real editing would begin. By the time I finished, the final tracks often sounded nothing like the original piano versions.
These days, every project unfolds differently. For example, with A Short Dream About Jupiter, each track started with improvising on a Bass Station II, a Korg MS2000, and a Casiotone MT-65 — running everything through three guitar pedals. I’d record those sessions, then shape tracks by layering, removing, and refining elements as needed.
For my latest album, uoying, the process flipped entirely. I started directly on the computer, usually building a dense wall of noise from heavily processed synth pads. From there, I’d strip sounds away gradually until a usable structure emerged. Only then would I begin thinking about keys, harmonies, and chord progressions.
Some of the more melodic tracks — like iasso — still follow that original method of sitting down at the piano and just experimenting.
[3. FEEDBACK]
■ The A. O.: What do you hope listeners feel or experience when engaging with your music?
► Euan Dalgarno: I hope it’s heard in decent quality — I’m all about the details. It’s those subtle atmospherics buried in the background that often end up being the most intriguing parts of a track. Lo-fi streaming tends to wipe all that out.
[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?
► Euan Dalgarno: My objective is to produce entirely original music — sonic material that breaks away from familiar patterns and pushes into unexplored territory. Creativity has the power to take you far beyond your comfort zone. When a track feels complete, that’s often the cue to go deeper — experiment with structures and textures. That’s usually where the magic happens.
[5. INFLUENCES]
■ The A. O.: Mention 3 albums that you consider relevant to your musical path and why.
► Euan Dalgarno: ○ Steve Reich – Music For 18 Musicians
Reich is the composer I listen to the most, so it’s inevitable that his influence would creep into my music somehow. Most noticeably on albums ‘swimitrupl’ and ‘illikkis’.
○ Peter Gabriel – 4 (Security)
The programming and the production, then the voice. It’s all 100%. I love the slightly more commercial direction that Gabriel took after this album, but 4 (Security) was, for me, not only one of the best albums of the 80s, but one of the best pop albums ever written, and an album that I keep going back to, over and over again.
Also, there’s a very good ‘The South Bank Show’ documentary on the making of this album, quite easily found via a search on YouTube. It’s definitely worth watching if you’re a fan of the album.
○ Herbie Hancock – Man-Child
I’ve been a huge Herbie Hancock fan since I was a teenager. A Fopp Records store along the road from where I was living in Glasgow sold Herbie Hancock albums on vinyl for £5, brand new. That was my introduction to his music, 16-17 years old, taking home these classic albums with those awesome artworks on the sleeves.
[6. REGARDS]
■ The A. O.: Leave us with a quote you love.
► Euan Dalgarno: “Honour thy error as a hidden intention” (Brian Eno)