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MORPHEUS
MUSIC INTERVIEW - SLEEPTHIEF
03.11.05
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Q:
What’s your musical background – how did you get
into establishing a project
like Sleepthief? |
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I am largely
a self-taught piano player. As I've mentioned elsewhere,
I have always been a music fanatic. Even as a child I would
try to play the piano at my grandmother's house. She taught
me a few little tunes...but I did not learn to sight-read.
I just memorized where my fingers were supposed to go. I
began trying to learn piano seriously when I was 19 years
old. I also took a theory class in college. But, in truth,
I've always been more interested in writing my own music
than playing someone else's songs. I am not a superb technical
pianist (although I probably could be if I just practiced
more--and I can play my own songs quite well). About seven
years ago, I purchased a 16 track sequencer/keyboard. I
knew at that time that I wanted to start cementing some
musical ideas. So, I just started writing songs and various
lyrics. About 2 years ago, I approached Israel Curtis, a
friend of mine, who had been developing his mixing/engineering
skills. Israel is also a very competent musician in his
own right. I told him that I had songs that I wanted to
translate into more "professional" pieces...that
was the start of the project. Initially, I planned on using
just one female vocalist. However, I was put in touch with
Jody Quine by Russ Elliot of www.musicaldiscoveries.com.
I sent her a few tracks and she expressed interest. From
there, I had somewhat of a "dream list" of vocalists
that I HOPED might be interested. As the songs developed,
I was fortunate enough to get to work with almost all of
them. |
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Q :
I believe that some other artists (like Conjure One
and Delerium) tend to
write music pretty much in complete form before involving
the vocalists –
do you work in a similar manner?
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Almost
all of the original songs appearing on the album were written
by me as instrumentals. "Afterthoughts," "Nightjar,"
and "Desire of Ages" are exceptions (and of course,
the covers of The Chauffeur and The Metro). With "Afterthoughts,"
I was introduced to Lauren through a mutual friend. She
was keen to be involved, and when she sent me the piano
and vocals for Afterthoughts, I was so impressed that I
asked her to take part. So, that song was written in original
form by Lauren--both music and lyrics. Once we got it, Israel
and I fleshed out the instrumentation and the various vocal
parts. "Nightjar" was written (both music and
lyrics) by Caroline Lavelle. Caroline is a lovely person,
but she has a difficult time singing other people's songs--even
with BT and Vangelis, she was very involved with writing
the music and lyrics herself. I have been such a big fan
that when she offered to write a track and then hand it
over, I was not about to let the opportunity pass. Like
with "Afterthoughts," we have taken "Nightjar"
and done loads of programming and arranging to flesh out
the sound. "Desire of Ages" was a musical piece
originally written by Israel Curtis. I liked it so much
and it fit the mood of the album so well that we decided
to include it. Harland obviously wrote lyrics and melody
for it. On some of the tracks (like "Tenuous"
and "Just Say It"), I wrote the music, melody
and lyrics. On other tracks, the music is sent to the vocalist,
and they work out a melody and lyrics. The nice thing is
that I have had the chance to speak in depth with each of
the vocalists about my "feelings" behind the music.
It has been great to collaborate that way. I just did not
want to "hand off" songs to singers--I felt it
was important to get them on the same page as I was with
the overall "vibe." For example, Jody and I spoke
at length about the idea behind "Eurydice" and
she even researched the myth (Jody is a pro!). With Harland,
I spoke with her for an hour about the feeling behind "Desire
of Ages." I really try to help the vocalists grasp
the concept. But they are all so incredible--I have not
been disappointed.
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Q :
What sort of selection process did you go through in choosing
vocalists?
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There are
certainly vocalists that I greatly admire. The funny thing
is that all of those appearing on the Sleepthief album are
actually amongst my favorites. When I first heard Jody Quine's
voice on the Balligomingo album, I was instantly floored.
I've been a big fan of Kirsty Hawkshaw's voice since the Opus
III days. Same with Kristy Thirsk, Caroline Lavelle, Nicola
Hitchcock, Harland and Roberta Carter Harrison and Kyoko Baertsoen
of Lunascape. Both Jerri Eckert and Lauren Edman--the two
singers who are "new" have phenomenal voices. So...I
never dreamed that I would actually get to work with all of
them. It was kind of just pure daydream fantasy...and then
when it started to happen, I almost could not believe it myself. |
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Q :
Are there any ‘mistakes’ or ‘creative decisions’
made by other artists in the genre that you’d like to
avoid?
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Hmmm...well,
I have always been a bit nonplussed by the fact that many
electronic outfits and/or DJs want to be at the forefront
of the fame game and fail to acknowledge the voices that make
their music what it is. I've spoken with several of the vocalists
about this. It seems hugely unfair and disrespectful to utilize
a talented singer (who may have also been part of the songwriting
process) and not to give credit where it is due. Also, any
group or artist that refuses to share proceeds from album
sales with a collaborator who actually co-writes part of the
lyrics, melody, or whatever is being dishonest. I wanted all
of the singers involved to know that I deeply value their
involvement. If a vocalist co-writes a track, she is entitled
to compensation from sales of the album or other publishing
deals. I have actually become good friends with many of the
singers and I would never want them to feel unappreciated.
Money is NOT everything and when people are willing to destroy
relationships over it, I think a serious "head check"
is in order. I think another thing
that I would like to avoid is feeling that if the album
becomes successful, I will need to produce a formulaic follow-up...I
want each track to be fresh an inspired and not feel bound
by expectations or otherwise. I think that many artists
get stuck in a "what will appeal to everyone"
mentality. I just cannot work like that.
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Q :
How has the internet (the Sleepthief forum perhaps) helped
shape the
project?
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The internet
has been (obviously) very helpful. Having the site up has
allowed fans a place to meet and spread the word to every
corner of the globe. I love interacting with the people who
are interested in Sleepthief's music--they are a great group.
Furthermore, promoting one's music is much easier with the
internet. Of course, the internet facilitates the exchange
of files between me and Israel and the singers.
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Q :
Sleepthief fits nicely into a steadily expanding genre of
beautiful
electronic music with (mainly) female vocals – what
do you consider to be
different about or unique to Sleepthief?
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I've mentioned
this before, but because Delerium somewhat pioneered the whole
"ethereal guest vocalist with lush electronica"
sound and because Balligomingo did something similar, people
instantly assume that Sleepthief is just another project in
the same genre. While I do enjoy both of the aforementioned
groups, I think that people are going to be a bit surprised
when they hear some of the other tracks on the album. While
I have written some expansive and exotic numbers, some of
the tracks are more Celtic flavored. I have a serious jazz/trip-hop
track (Fire from Heaven with Roberta on vocals) and a bit
of drum & bass. Caroline's track is also fairly unique.
I don't mind the comparisons to Delerium or Conjure One or
Balligomingo. To be fair, several of the vocalists who have
appeared on those projects are also appearing on mine. But,
I seriously think that discriminating fans will find Sleepthief's
music is different (sometimes radically so) than those acts.
Honestly, when I write a track I do not think of any particular
song or artist...it is just a melody that flows. At the end
of the day, though, people will like the music or not on its
merits. If fans of Delerium and Balligomingo like Sleepthief's
stuff, how can I be offended? |
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Q :
Are there any things about Dawnseeker that you really
didn’t intend when
you began the project?
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Definitely.
As Israel and I began exploring in the studio with different
sounds and grooves, certain songs took unexpected directions.
For example, "Tenuous" was much more beat heavy
when we first started. We were several days into it, and
I decided to scrap most of it because the song just wasn't
sounding the way it should. We stripped out a lot of the
percussion and made it more of an ambient piece. Something
similar happened with "Afterthoughts." It started
as a very cinematic/classical piece. But then we got to
the point where it just wasn't meshing quite right. We mixed
some things up, giving it a bit more of a whimsical touch.
These sorts of shifts probably happened with many of the
tracks--it is sometimes hard to know where a song will end
up when you first start. But as you progress, you began
to intuitively feel whether a song is working or not. That
is part of the thrill of creating the music. For "Chauffeur,"
we threw down some drum-n-bass rhythms and they ended up
working quite well. It is funny because sometimes things
you think will not work at all end up really enhancing the
overall quality of the song.
I did not intend it to take 2 years to
complete (haha). Also, I thought the album would be a bit
shorter. It has taken longer because there are 2 more tracks
than originally planned.
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Q :
You're obviously quite involved with the artwork for Sleepthief
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what's your idea of great CD packaging?
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I feel very strongly that
the CD packaging should be as evocative as the music itself--the
packaging is like a visual extension of the music. I wanted
the imagery for the album and the website to reflect a
slightly surrealistic, dream-like quality. In my opinion,
the related artwork should really enhance the overall
"vibe" of the music. So many CD covers and booklets
are very poor in quality. I wanted the Sleepthief album
cover to immediately grab people's attention...because
there are many people who will listen to or purchase a
CD because of the cover art. Brian Son is utilizing various
images that I have photographed and incorporating them
with his own artistic design ideas. He has truly stunned
me with his creativity and vision.
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| Q :
How do you find looking at your album as completed entity
now? Do you have a feeling of satisfaction? Are you a perfectionist
that picks up everything that you feel you could improve upon?
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It
is very exciting and still a bit unreal to me. Obviously,
it turned out to be something far beyond what I had originally
anticipated and having the singers involved that eventually
came on seems like a dream still. I am very satisfied. I
am (unfortunately) a bit obssessive about detail, so of
course, I hear small things that I would maybe do slightly
differently, or adjust. But on the whole, I am overwhelmingly
pleased.
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Q :
What’s been the most gratifying result so far
from releasing Dawnseeker? |
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It has been very affecting to hear the feedback
from listeners and to know that they are moved by the music.
As cliche as that sounds, it is almost like discovering
a bunch of new friends that "get" what you are
about. Being able to positively stir others' emotions through
one's art is incredibly rewarding. I would also have to
say that my new relationships with my label, and the singers
and artists that were involved with the project has been
a great blessing as well. |
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| Q :
Now that it’s finished – what part of the
CD best captures the initial goal you had for Dawnseeker?
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Wow...that is a tough one. I
don't think there is any particular aspect that stands out
because every song feels like it has a place. I am just pleased
that there is a nice diversity of sound, but that there is
a connectivity between all of the tracks. People have really
noted the variety of the songs while appreciating the unity
of the entire album. |
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Q :
Obviously the singers you’ve worked with are all
quality artists – but did anyone especially outdo your
expectations? |
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I am not dodging here...I think
all of the singers exceeded my original expectations. In some
way or another. For example, Jody's vocal line for Eurydice
was far better than anything I had imagined. Harland's harmonies
and all of the vocal tracking she did was epic. Kirsty's unique
take on The Chauffeur was beyond what I had hoped. I could
go on and on about each of the tracks. |
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| Q :
Can you tell us a bit more about Israel’s involvement
with the project? |
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Israel has been a good friend of mine for
a few years. We were introduced by some other friends who
are musicians. I knew he liked electronic music, and I had
turned him on to artists like Caroline Lavelle. He actually
turned me on to Balligomingo! Israel is one of the most tech-intuitive
people I know. He can learn complicated programs in his sleep.
So, he had the studio and equipment necessary to really flesh
out the original songs I wrote. He is also a very good musician
and a writer himself, so it was a double bonus. We would dump
one of my songs into Logic, and then we would proceed with
selecting sounds. Some of my songs were layered with numerous
instruments already, and others were more sparse...so Israel
worked as an engineer and programmer in the studio. He also
wrote the central music for Desire of Ages. At this point,
I am in the process of expanding my own studio so I can really
become more adept at the programming side. Israel is light
years ahead of me. On the next album, I will definitely work
with Is again, but I want to do alot more of the technical
programming myself. I am a songwriter and lyricist, but you
can be limited if you don't understand the engineering side
of things. I have learned alot and will apply that when I
do the next album. |
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Q :Not
all of your listeners will be aware of the reason for Jody
Quine being featured on three tracks – how did this
come about? |
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Jody was the first singer to really become involved. I sent
her the music for TENUOUS and KISS TO SAVOR. When she came
down to record, we hit it off very well both musically and
personally. We had so much fun in the studio. When she came
back a few months later to shoot the video for TENUOUS,
we discussed the fact that I had new music for a song called
EURYDICE. Again, at this point, I was just beginning discussions
with Harland and Kirsty Hawkshaw and Caroline Lavelle. Jody
liked the music and so I figured that we could do another
great track while she was in town. She researched the myth
for EURYDICE and came up with words and melody in about
5 days!! It was crazy. So...Jody got in early and she is
a real talent. She will definitely be appearing on SLEEPTHIEF's
next album. In fact, I already have the song written that
I would like her to sing.
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| Q :What
do you see ahead for Sleepthef now? What are your plans and
what are your dreams? |
I have the highest hopes for the project.
I will always write music and I will always strive to become
better at my craft. As I mentioned, one of my goals for the
next album is to really discipline myself to write more structured
songs. So far, I have written six new songs for the next album--and
I am highly pleased with how that is going. Also, Israel and
I will be involved with Caroline Lavelle's next solo album.
This is a huge honor and we are in the studio currently on
that project. Sleepthief 2 (I wish I could tell you the title
of the next album...it already has one!) should be out in
about two years. Also, I have been asked to co-write music
with several singers. I am excited about this as well.
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I am hoping to sign some new acts to my label
(Echotone Records) and get that rolling. Finally, I am working
to get a film produced. We should be shooting within a year.
And I am looking at doing some management and legal representation
for some artists...just alot of things on the table, but all
good!!
Oh, and we will be shooting a video for the second single
in the next few months. |
Thanks
to Justin Elswick for allowing us that interview.
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