Voices #8
◦ “voices” is the place where we ask, artists reply and you read.
here we got:
Catapult Elpam
answering some questions. We have already observed his experimental / downtempo / drone work here.
[1. IDEA]
■ The A. O.: The track from “Boredom And Other Evil Spirits” that we prefer is “Solitary Happy Hour”. Can you tell us how it came to light?
► Catapult Elpam: So this track is the oldest one on the record. It came about from playing around with some textures and the guitar itself. Sonically the whole arrangement is rather simple then complex with subtle variations every now and again. I remember playing a vinyl record and placing the needle on the label not instead of the grooves. The result was this really cool scratchy rhythmic texture that goes in the background. I always like to sample and experiment with really weird and unusual sounds, reverse them, stretch them etc. Towards the end of the track, the rhythmical section switches to this galloping beat, which is actually the hooves of a galloping horse used as the rhythm.
[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?
► Catapult Elpam: I would say, for this album, both the concept and a state of mind played a crucial part in the creation of it as well as having a certain sound in mind. My intention for it was to leave it as raw as possible it almost sounds botched in a way. The usual process is a lot of back and forth with ideas recorded to tapes with synths and pedals and then manipulated further as samples and layers through various effects and technics. I sample a lot of foley sounds, films and old cartoons and such as well as layer a lot when creating tracks like this.
[3. FEEDBACK]
■ The A. O.: What do you hope listeners feel or experience when engaging with your music?
► Catapult Elpam: I do like to leave things open to interpretation. I feel that people have different ways of experiencing things and interpret things on different levels of perception. I like the equivocation of it and the abstraction of how your mind can work out patterns when engaging with an art form or creation.
[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?
► Catapult Elpam: I think every artist has their own unique sound when it comes to music in general. I tend to have a bit of a “selfish” approach as far as sound and style goes. The digital music scene however can be a double-edged sword and one can get lost in the noise easily. I think it’s important to keep the analog formats alive for as long as possible. Music is tactile, you can hear it, feel it. The art is as important as what’s on the tape, CD or vinyl and unfortunately in a more digital format, you can’t really have that freedom. I grew up with physical music but someone a bit younger might disagree.
[5. INFLUENCES]
■ The A. O.: Name three albums that you consider relevant to your musical path and why.
► Catapult Elpam: ○ Cujo – Adventures in Foam
○ Amon Tobin – Supermodified
○ Tool – Ænima
All three albums have been an inspiration and constant finding for the sounds I’m after in my own project and as a listener. I find myself coming to them quite a lot, especially “Adventures in Foam”. They all have that “charm” I am looking for when listening and I get a good deal of inspiration from these albums.
[6. REGARDS]
■ The A. O.: Leave us with a quote you love.
► Catapult Elpam: “You start getting good when you finally stop asking yourself some questions”