Speaker 1: Hey, everybody, is getting to be a pretty busy time
Speaker 1: for the producers of this show. We still have a
Speaker 1: lot of great episodes to share, but we're going to
Speaker 1: slow down our publishing schedule for the year, airing a
Speaker 1: new episode of Ephemeral the first Monday of each month,
Speaker 1: so the next episode will be July four, then August one,
Speaker 1: and so on. As always, thanks for listening. Ephemeral is
Speaker 1: a production of I Heeart three D idea for Folxposure.
Speaker 1: Listen with that phone. Today's guest is one of the
Speaker 1: most prolific artists I've ever met. I'm subject to boredom.
Speaker 1: I'm bord a lot, and I don't leave it well.
Speaker 1: To avoid this boredom, I produce music. My name is Oz.
Speaker 1: I'm a French producer of free music with a lot
Speaker 1: of nicknames, a lot of different projects. If you've listened
Speaker 1: to Ephemeral for a while, you've heard a lot of
Speaker 1: Roses work. Usually I credit the artist one place here
Speaker 1: and site the website loyalty freak music dot com, but
Speaker 1: that's a little misleading. In the last eleven years or so,
Speaker 1: Rose has released over two hundred albums under the guise
Speaker 1: of almost twenty different pseudonyms. Why so many aliases. It's weird,
Speaker 1: but I have a lot of good ideas of bond name.
Speaker 1: Like you are at a party with friends, you are
Speaker 1: super drunk, and like you have that must be the
Speaker 1: new name of your band. I'm the person who takes
Speaker 1: this as a true thing, Like you tell me this
Speaker 1: is your new band name. Okay, I'll do the album tomorrow.
Speaker 1: I wanted to do a lot of stuff, many many things.
Speaker 1: I love recording music and I produced stuff fast, so
Speaker 1: I had the feelings that I needed to create a
Speaker 1: lot of nicknames because I wanted to separate a lot
Speaker 1: of my music. My first one was Alphadre. My first
Speaker 1: st album was called La dictator The Boredom Dictatorship. After
Speaker 1: that I took the nickname of Montplasy to release like
Speaker 1: a t album something like that. And after that I
Speaker 1: embraised the name of Jose Aserti. It's like my name
Speaker 1: on the internet right now. But I have also Comico
Speaker 1: certain purious, said Don Frederic Clardon, come Jan anonymous for
Speaker 1: twenty then splore his Lava a tape full of mistakest
Speaker 1: Cikla Woman. And there's maybe a few others besides the
Speaker 1: Sheer amount and variety of Roses music. The other thing
Speaker 1: you should know about their project is that almost everything
Speaker 1: rosemakes has been released for free without restrictions. The majority
Speaker 1: of this music is available to everyone to adapt, remix,
Speaker 1: and we use howeveryone wants. With such a staggering output,
Speaker 1: you might wonder where Rose caught the musical bog that
Speaker 1: would develop into this obsession. I feel like music was
Speaker 1: kind of my scene. When I discover Dirty Album from
Speaker 1: Sonic Hues and Lasting Stock from Talk Talk, I had
Speaker 1: like really crazy moment with Affics Twin come to d
Speaker 1: D e P And the Greatest Hit from Placebo. There
Speaker 1: were a moment where I was like, okay, music is
Speaker 1: haunting me. When I found the website radio blog dot Club,
Speaker 1: there was users creating playlist with a lot of not
Speaker 1: really legal music at this moment, but there was like
Speaker 1: a laylists just blowing my mind with Jane Doe from
Speaker 1: Converge like a really harsh metal core song. I didn't
Speaker 1: listen to something so violent at this moment. It was like,
Speaker 1: oh wow, something like this exists. And I listened to
Speaker 1: my first moment of noise music with a remix of
Speaker 1: Mogway Fast Saton by my Blude Valentine. It was like, Okay,
Speaker 1: this is the stuff I want to live for creating music.
Speaker 1: It was in high school. I was seventeen learning to
Speaker 1: play drum for a band with my friends. I took
Speaker 1: a guitar and tried to improvise with another friend, and
Speaker 1: this is the moment I knew guitar was the instrument
Speaker 1: I wanted to work on, and improvisation was I want
Speaker 1: to do that for the rest of my borrowing days.
Speaker 1: What instruments have you picked up since then? I mean,
Speaker 1: I see a bunch of instruments behind you, and I
Speaker 1: know your music is very collectic intranstence mutation. Right here,
Speaker 1: you have several types of guitar, fretless, bass, tenor saxophone.
Speaker 1: I know how to play guitar, but I play bassed
Speaker 1: like a guitarist play bass, and I play saxophone like
Speaker 1: a guitarist play saxophone. I have like a keyboard, toy
Speaker 1: keyboards too. I've done a lot of music with this
Speaker 1: keyboard right here. I've solder output check so I can
Speaker 1: put ethics change with it, and it's like tasty. I
Speaker 1: have like little percussions, a lot of flutes, recorder with
Speaker 1: the big. I have a mixed table to do ash
Speaker 1: noise and stuff like that, a lot of efex petals.
Speaker 1: This is all my gear and I record everything on
Speaker 1: a little table in the corner of my room. Everything
Speaker 1: is done here between pokemon figurines and dust. This is
Speaker 1: not really a good studio to record, but I don't
Speaker 1: have the time on the money to wait for a
Speaker 1: real studio to work on my music. I just want
Speaker 1: to create stuff. The first time I recorded with the
Speaker 1: mic of the laptop, we like to press the record
Speaker 1: button and have no idea what to play, and it
Speaker 1: was awful but so fun. I was like, I think
Speaker 1: I can do other stuff. I had a new electric
Speaker 1: guitar to a multi expertal I vote a fast track
Speaker 1: Pro emodio fast track Pro, and I learned how to
Speaker 1: use it. I think the first album I recorded it
Speaker 1: in a month. I was really obsessed by this stuff,
Speaker 1: but I didn't understand what I was doing. To mix
Speaker 1: music is a job. You need to learn everything, and
Speaker 1: there is a science behind all this stuff, and it's
Speaker 1: how to improvise this. There is a huge gap between
Speaker 1: my first album and the last one in terms of mixing.
Speaker 1: I feel that it's not the same person doing this music.
Speaker 1: It was like urge to produce this stuff, and I
Speaker 1: didn't want to waste my time on the same idea.
Speaker 1: And in the end, I need to produce more stuff
Speaker 1: and be confronted to more music and more mixing, and
Speaker 1: with multiple confrontation, I will learn more than putting three
Speaker 1: or four more hours on the past music. We'll dive
Speaker 1: deeper into this body of work after the break. Okay,
Speaker 1: let's talk about some aliases, and I'll apologize again that
Speaker 1: I will probably butcher every name. No problem, it's most
Speaker 1: stylish when you say it with your accent. Outside today
Speaker 1: album Alfredrai. In the first album, it's chaotic as he
Speaker 1: The first tune is strict distorted over driven guitar playing
Speaker 1: our pages. The second one is like a folk song.
Speaker 1: The third one is like an ambient song. The fourth
Speaker 1: one is the Battle Team, the fifth is the funk song.
Speaker 1: After that there is a cheap hip hop instrumental, and
Speaker 1: another chipipop instrumental and a folk song. It's like a
Speaker 1: lot of stuff. There is like one link. It's the
Speaker 1: bad recording and the guitar no real artistic direction. I
Speaker 1: don't care about this a lot, but it was not
Speaker 1: good to have albums with so many type of music.
Speaker 1: It's not user friendly music. It's hard to use this
Speaker 1: music to reuse and remix years past. Um. I'm on
Speaker 1: a role playing game for UM, writing stories and stuff
Speaker 1: with people, and I was like, Okay, I need to
Speaker 1: do a soundtrack of this forum because I love the place.
Speaker 1: And it was the first album from Comic Wo. It's
Speaker 1: time for Adventure Colko twenty four albums. I use this
Speaker 1: alias for the soundtrack and I continue to use because
Speaker 1: it feels like it was another direction, another way to
Speaker 1: produce music. It was more about imagining a place soundtrack
Speaker 1: for a video game, tabletop or PG. I was like,
Speaker 1: Comic Wo is for music you can use. Obviously. The
Speaker 1: five first album of Comic Who is for one unique universe.
Speaker 1: It's parodic music of role playing game situation with acoustic
Speaker 1: instruments and there is like a loofy vibe on the recording.
Speaker 1: After that, it's the next album of Comic Who. It's yes,
Speaker 1: it's ultraped person. After that it's like for a video game,
Speaker 1: a wacky Mega Man like video game where you destroy
Speaker 1: capitalist standfascist with stones and slink shot. And after that,
Speaker 1: I've done the Girl with the Baseball Bat. I watched
Speaker 1: so many so bad, they're so good type of movies
Speaker 1: like The Room or Samurai Cup. Okay, let's do a
Speaker 1: soundtrack with that in mind. After that, I've done the
Speaker 1: first Incredible Adventures volume, inspired by my plushes like Puppies.
Speaker 1: Incredible Adventures. It's like a little plush of a little dog.
Speaker 1: It was my inspiration to do a seventy tracks in
Speaker 1: two weeks. I think I was unemployed at this moment
Speaker 1: and I had a lot of free time, and I
Speaker 1: was super inspired. Let's go do ten tracks a day.
Speaker 1: After that, I have the Captain Gluglue Incredible Week soundtrack.
Speaker 1: It's an actual game that exists. There is Alie Saw
Speaker 1: Some Dance Adventure. It's not incredible, but it's at least awesome.
Speaker 1: There is the Animal Summer Music Camp, a tape is
Speaker 1: never forgotten. It's like the music I've done for a
Speaker 1: video game that doesn't exist. The Adventure Goes On Volume
Speaker 1: one and two. And The Fuzzy Trip in Drama exan
Speaker 1: volume completely made with old time recordings and public domain
Speaker 1: recordings Cluzy albums one Pleasy. It was more a de
Speaker 1: facto name for a lot of type of project, guitar improvisations,
Speaker 1: rock music, industrial songs, shoegaze songs, live music, soundtracks for
Speaker 1: real games, soundtrack for movies. So yeah, at some point
Speaker 1: I use it for a lot of stuff. Certain Furious
Speaker 1: fifteen albums. Soft and Furious is born from the acquisition
Speaker 1: of a Cold Cross synth keyboard. I had this keyboard
Speaker 1: and I was, oh, nice, I can do like form
Speaker 1: of synth wave or electronic music. The first album were
Speaker 1: created with this keyboard, not the drums, but all the
Speaker 1: other sounds. At this moment, I was really questioning my
Speaker 1: gender identity. I'm a gender fred person, and this music
Speaker 1: expressed it. I see my gender like a notion. I
Speaker 1: can't really say what gender I was yesterday and what
Speaker 1: I would be tomorrow. My identity is not the same.
Speaker 1: I was in front of those questions and it d
Speaker 1: me a lot to understand what I wanted to do
Speaker 1: in these periods. I was like dopting of myself and
Speaker 1: not in a good place. The stuff I wanted to
Speaker 1: do is dive in in sound, and that was like, okay,
Speaker 1: Soft and Furious is what I see for my gender.
Speaker 1: The expression of this need to be in a notion
Speaker 1: of sound, but it's mostly like am Beyond and sent
Speaker 1: wave like music, but not aggressive cent wave. It's more
Speaker 1: like soft than curious. Froteen happens both false really really
Speaker 1: weird stuff. The first stuff I produced with this nickname
Speaker 1: is dog Wave super called electro Technoe with dog screaming,
Speaker 1: and I went, okay, the mother donor will be weird
Speaker 1: stuff and mostly noisy stuff, and I don't like dog
Speaker 1: wave too, and cut wave. After that, I'm Pigeon Wave. Also,
Speaker 1: the next one will be print a Wave. Already a
Speaker 1: lot of people told me this was like a nightmarish ivy.
Speaker 1: I'm like, okay, I will do that. Peepout apples. Frederic
Speaker 1: Clardon is a playworld with Frederic lrdon socialist French economists
Speaker 1: and Lardon. It's bacon. It's for French city song I've
Speaker 1: done with my friend La held me obviously play well
Speaker 1: with low a Palmer from Twin Peaks. We gathered around
Speaker 1: a keyboard and just press records and play stuff. It's
Speaker 1: really bad music, but it's super fun. The first time
Speaker 1: Frederick Clardon appeared is was for a website called Lomasument
Speaker 1: The Weekly Maratton. You have to produce one song. Every
Speaker 1: week for a period of time. You have to have
Speaker 1: like a balance between makes something quick and make something good.
Speaker 1: Also you have to make a banger. I've done an
Speaker 1: album called music Music to make People Leave Your Place.
Speaker 1: It's a lot of really really hard and allowed noises.
Speaker 1: I don't recommend to listen to it, but it exists
Speaker 1: if you need to make people leave your place. Contrast
Speaker 1: sad apples. Rosin is a French politician and Come Jospine
Speaker 1: is like a really weird joke I can't explain even
Speaker 1: in French. It's a project I've done with my friend
Speaker 1: Laura palm Me also, but it's a band. Come Jospin
Speaker 1: is the band. The first album is called fair Music.
Speaker 1: You can translate it do the music and the first
Speaker 1: thing we've done is a cover of the Shags the
Speaker 1: song Mapile Foot Foot. The next album from comp is
Speaker 1: Champon Noel So Sing Christmas and it's a collection of
Speaker 1: my friend and I singing French Christmas song with a
Speaker 1: really really bad vibe like you lost everything but you
Speaker 1: have a job and it's too sing Christmas song. There
Speaker 1: is another one called Low Region. I have a guitar
Speaker 1: with big Bill vibrato and I play like Stairwards Eaven
Speaker 1: on the guitar and my friend plays the vibratto. So
Speaker 1: I played the music and she just turned the cord
Speaker 1: whenever she wants, and it's horrible. I love those bad stuff.
Speaker 1: It's so full of energy, but it's really hard to
Speaker 1: use as a free music analyst for twenty I imagine
Speaker 1: you are familiar with trump wave, so I wanted to
Speaker 1: do Macron wave. The problem is that trump wave is
Speaker 1: music made to create propaganda around Trump, and I didn't
Speaker 1: want it to do that. With mac Own. The motto
Speaker 1: of Macron was the startup Nation. When it became president,
Speaker 1: he ted to change France into a startup nation. So
Speaker 1: it was like, okay, this dude is the spokesperson of
Speaker 1: the new wave of capitalists. I wanted to use the
Speaker 1: esthetic of the so called capitalist music, the one used
Speaker 1: in branded industries. It's a music you will remix for
Speaker 1: a video presentation, a power point, but you will not
Speaker 1: listen to it as music. You don't go to shutter
Speaker 1: Stock Music to listen to the playlist, and I had
Speaker 1: an issue with them. I wanted to take this music
Speaker 1: and to rebrand it, to remix it, to make it
Speaker 1: music again. In particularly the first Anonymous for twenty Upstart
Speaker 1: Nation was a favorite of one when we began this podcast.
Speaker 1: It's all over the ephemeral trailer, including the track You're
Speaker 1: Hearing Now. And I've done another album called Startup Kids,
Speaker 1: which is a remix of the demo of this keyboard. Yeah,
Speaker 1: uh sorry, I don't want you to be d m
Speaker 1: C eight for visually you said do. It's a nickname
Speaker 1: I use for my French songs about being queer. If
Speaker 1: Anonymous for twenties like a soft and round over driven music,
Speaker 1: this one is like poetic ash and really really loud.
Speaker 1: I love our stuff. I don't know if you noticed that.
Speaker 1: I do a feedback look into my mixed table on
Speaker 1: the verge of feedback, and I've done a couples of
Speaker 1: gigs of this project. It's always super hard to do
Speaker 1: because I need four or five effects s pedal, the
Speaker 1: mixed table, keyboard, a little drum, and I need to
Speaker 1: like sing and scream. Loyalty Freak Music seventeen albums Loyalty
Speaker 1: Freak Music, The World Player obviously on Loyalty Free Music.
Speaker 1: When I have the idea like okay, I want to
Speaker 1: have a library of groovy music of loffy music of
Speaker 1: metal music. I will do like seven or eight try
Speaker 1: of this type of music, and I will release the
Speaker 1: album I didn't know at this time. It will become
Speaker 1: the name of my website, Loyalty Freak music dot com.
Speaker 1: Guess for me, this is a good name brand to have.
Speaker 1: The first one is positive attitude to try to do
Speaker 1: some happy stuff, and it's awfully hard to do positive
Speaker 1: music not sounding like the other positive music existing. I
Speaker 1: don't like music to chill and stay awake, low fi
Speaker 1: good stuff, electro music like robot, dance, instrumental R and D,
Speaker 1: beats to sing or wrap on. I've done Halloween music.
Speaker 1: It was used a lot the podcast You're Wrong About
Speaker 1: use one of the songs in this album. That's fun
Speaker 1: when you listen to something and it's you dance for
Speaker 1: data four albums. Lava is a project I really love
Speaker 1: but don't find a lot of idea to work on.
Speaker 1: I was really inspired by a song called Noise Girl
Speaker 1: Discoopatology dance Floy's. Lava was created to try to do
Speaker 1: some stuff like that. It's noise disco, industrial dance music
Speaker 1: and catchy sensible at any teenage riot both as a
Speaker 1: teen albums was a theft at first, was a gay
Speaker 1: album about feelings. That's why I've written in the description
Speaker 1: of the album it's mostly true. At first. It's French
Speaker 1: song with a soft approach to rock music. I really
Speaker 1: like the idea of using low quality software to record
Speaker 1: music computer folk music. Rose Arty was born with this id.
Speaker 1: It's mostly stuff I have the urge to create and
Speaker 1: don't have a nickname in mind. A tape of mistakes.
Speaker 1: Two albums, A tape full of mistakes. It's a band
Speaker 1: with mon Plasier and the Ataway family plot. We sent
Speaker 1: to each other piece of music and we remixed it,
Speaker 1: put some more music into it and recreate an album.
Speaker 1: It's avant garde noise music. Three albums, Wandering Dog, you
Speaker 1: can call it. It's more about improvisation with the guitar,
Speaker 1: like what I've done mostly with mont Plasier Press Records
Speaker 1: and try something Clad Woman three albums CCLA Woman is
Speaker 1: trying to do some experimentations written by the Fluxus movement,
Speaker 1: inspired by Lamontition, Yoko no terr Tony, stuff like that.
Speaker 1: So it was in this a roach. Okay, I got
Speaker 1: at least two that you didn't say, oh what this
Speaker 1: one's got about you? Because this seems like you to
Speaker 1: quill a moon rise? Oh yes, I forgot to kill
Speaker 1: a moon right, killing the nice one album. I have
Speaker 1: this fake music genre called tropical good. This is fortunes
Speaker 1: I've done with the keyboard of my rand mother, and
Speaker 1: I think I didn't found a better album titles than
Speaker 1: the one. I don't particular moon rise, which is I
Speaker 1: hate myself and I want to tie and die. I
Speaker 1: don't know if this is your either, but I thought
Speaker 1: it was you Standifer, Yes, this is me too. For albums.
Speaker 1: The first album is for the FOLM Challenge, the February
Speaker 1: album writing months. While you have to liquored fourteen track
Speaker 1: in one month, my challenge is to do it in
Speaker 1: one day. But still I her became bound after that.
Speaker 1: And it's small like Beastie Boys ash industrial like music.
Speaker 1: The first one is domind and tomorrow is Canceled. It's
Speaker 1: like rhythm box with guitar, bass and vocals with a
Speaker 1: lot of feedback loops. An artist, anti capitalist, anti fascist
Speaker 1: songs recorded in a studio. The only other one that
Speaker 1: I've got on here that you didn't say. I'm not
Speaker 1: gonna better say that Captain Glues glue Glow and Captain
Speaker 1: Captain glue Glue is usually cla Maybe Captain Glue Creux
Speaker 1: a socially clavier one album. So this is Captain glu
Speaker 1: Glue the Little Alpaca. There are like a playlist of
Speaker 1: videos of Captain glue Glue playing the keyboard. It was
Speaker 1: just for fun. I don't think Captain Blue Blue will
Speaker 1: play another album because the plush was like really really
Speaker 1: sparkly and beautiful at the moment where I recorded the videos.
Speaker 1: Now time passed by Captain Glue is grayer or now
Speaker 1: how do you regiment your music production, your creativity? What's
Speaker 1: your regiment like to get all this stuff done? Big
Speaker 1: part of my discography was made during the PAIRD I
Speaker 1: was unemployed like for two years. Now I have a
Speaker 1: day job at the administration of a music school in
Speaker 1: the evening, so I use the morning mostly to do
Speaker 1: my music. I'm not a night bird. I was, but
Speaker 1: I'm not now. I'm are a morning buld. I love morning.
Speaker 1: You can do everything in the morning. Do you record
Speaker 1: like every day? When I was un employed, I recorded
Speaker 1: every day. Now I record like one or two times
Speaker 1: a week. I'm so stressed by my day job and
Speaker 1: the situation globally that I didn't add the space in
Speaker 1: my head to think about music, to create a lot
Speaker 1: of music. But also, this last ten years, I've produced
Speaker 1: more than two Android album I'm a bit tired. How
Speaker 1: much did you do in this last two years? A
Speaker 1: ninety one album in this last two years. Yeah, it
Speaker 1: doesn't sound like you had too much of a creative block.
Speaker 1: I'm sorry your jay job is not like no stress
Speaker 1: and the pandemic, but it does so. I mean, I
Speaker 1: know a lot of artists that are working hard, but like,
Speaker 1: I don't know anybody that's producing work like you. No, no, no,
Speaker 1: I get I get where you say that too. And yeah, yes,
Speaker 1: I'm saying in a nutshell, don't be so hard on yourself. Yes,
Speaker 1: this is a problem. I know this is a problem.
Speaker 1: I have a producing problem. Shouto. I wouldn't call it
Speaker 1: a problem. I would call it a gift. You've tapped
Speaker 1: into something in yourself that a lot of people dream of.
Speaker 1: And I think a lot of times when you're in
Speaker 1: the middle of something like that, like you apparently have
Speaker 1: been for these ten years or whatever, and probably longer,
Speaker 1: it's sort of hard to see the forest for the trees.
Speaker 1: If if that expression translates, it can be hard to
Speaker 1: appreciate when you're inside out of it. But yeah, that's
Speaker 1: that's the muse, right, I mean, that's you've got. You've
Speaker 1: got the mused by the collar. So whatever you're doing,
Speaker 1: just like, don't mess it up, just you know, and
Speaker 1: it will keep changing and maybe it make less albums,
Speaker 1: maybe make one. You know, I'm sure it seems like
Speaker 1: you have no shortage of ideas, but it is sort
Speaker 1: of baffling amount of creativity located in an individual. I mean,
Speaker 1: I think that's maybe part of why you have to
Speaker 1: split into so many personalities. Yes, I need to have
Speaker 1: some place where I can fit these ideas and processed
Speaker 1: it because there's so many a way to produce music,
Speaker 1: and I feel that I have a producing issue because
Speaker 1: when I'm not producing, I'm hating myself. And you know,
Speaker 1: it's like I have internalized capitalist pressure in me and
Speaker 1: I don't like it. Some people struggled to just release
Speaker 1: one song because they are like in a perfectionist way,
Speaker 1: I don't care myself. I don't care to make the
Speaker 1: perfect things. I just want to put it out of
Speaker 1: my head and just okay, the idea is here, it
Speaker 1: doesn't clip. Okay, let's release it if I wanted to clip.
Speaker 1: There is no problem that the last two years I
Speaker 1: struggled to find this producing muse. I'm still having like
Speaker 1: a more productive way to work and other people. But
Speaker 1: I feel I've lost the momentum. I've lost the flu.
Speaker 1: You know. I gotta be in your own head that
Speaker 1: just like the evidence does not suggest that. So I'm
Speaker 1: not trying to be unsympathetic. But that's that's a hard
Speaker 1: pill to swallow. Or maybe it's not the momentum, but
Speaker 1: I think I've lost something this last two years. That's
Speaker 1: why I produced less album this last year. Also, I'm
Speaker 1: not as happy as before with my music. I'm less
Speaker 1: in peace. But it's like my music as its own quality.
Speaker 1: And yes, I think there is like good albums, maybe
Speaker 1: even Bee. I'm too hard on myself and this is
Speaker 1: just the problem. A lot of the time, I just
Speaker 1: don't know what I'm doing. I'm on the computer and
Speaker 1: I'm singing, and after that I'm tall Okay, this is
Speaker 1: this will be the note. I is that trade that
Speaker 1: you mean? Like singing out like the parts of song. Yeah,
Speaker 1: This is a really good way to improvise stuff. I
Speaker 1: have like tons of memo on my cell phone and
Speaker 1: of me singing between the line of cars. This is
Speaker 1: super how to listen. See, I think that a lot
Speaker 1: of us have that, myself included. The difference is the
Speaker 1: huge hay here and then you you so so much
Speaker 1: of it gets through that it becomes a thing that's
Speaker 1: and then not even that you just make it, but
Speaker 1: that you actually put it out there and that you
Speaker 1: and then you get it into people's ears and hands
Speaker 1: and you let people do things with that, which I
Speaker 1: want to talk to you more about two. But like
Speaker 1: that's the difference. Yeah, it's differing difference. I mean those
Speaker 1: things are almost opposite, right. And you know, when at
Speaker 1: first I've produced like an album a year, it's bet
Speaker 1: up with time. At some point a friend gave me
Speaker 1: a challenge to produce like four Try in the weekend.
Speaker 1: That was the first form February album writing months where
Speaker 1: I've recorded the album Busy So Noa by mon Plasia
Speaker 1: and I recorded this album in one day, you know,
Speaker 1: twenty eight hour. And after that I kept this way
Speaker 1: of producing music because I was at this period unemployed
Speaker 1: and I had a lot of instruments and space to
Speaker 1: create music. It became my routine after that. I used
Speaker 1: Ripper to record my music, and it's like an extension
Speaker 1: of me. I finished a track, I rendered it, and
Speaker 1: after that I create a new project. Maybe I go
Speaker 1: to the bathroom or something. Oh, I take a break
Speaker 1: because my fingers are like a bit hurt because I've
Speaker 1: played like five hours of guitar. But after that, I
Speaker 1: just continue, even though I have no idea what I'm
Speaker 1: going to do. I will finish the day with something.
Speaker 1: In terms of when you start earning a project, do
Speaker 1: you usually start with a a genre utility in mind?
Speaker 1: Where do you sort of work in assignment? After the fact,
Speaker 1: I think I'm more copy cards than anything. I tried
Speaker 1: to copy things most of the time. If I found
Speaker 1: something I really like, I tried to do it myself.
Speaker 1: At some point, I was really into a male banana
Speaker 1: Japanese artcore band, and I wanted to do art cores,
Speaker 1: so I tried to do a noisy artcore stuff. It's
Speaker 1: like in my early work. After that, I had a
Speaker 1: fluxus period where I tried to reproduce the vibe of
Speaker 1: the eternal theater of music. Are there any genres that
Speaker 1: you have in mind that you would like to work in?
Speaker 1: Genres or utilities uses that you haven't yet that you
Speaker 1: that are like on your wish list? The printer wave
Speaker 1: I want to do as a soundtrack of video games.
Speaker 1: I love to work on this type of utilitarian music.
Speaker 1: Right now, I'm doing some live on Twitch where I
Speaker 1: compose music live for games that doesn't exist. But now
Speaker 1: I'm more into thinking about not working on producing music,
Speaker 1: but writing about music and mostly about philosophy of music.
Speaker 1: Maybe we can talk about it more later because this
Speaker 1: can be a big subject. So working in video games, film,
Speaker 1: video stuff like that, do you do a fair amount
Speaker 1: of composing specifically for other people's projects. Yes. I like
Speaker 1: to do that and I want to do it more.
Speaker 1: I've done couples of movie projects. The biggest one I've
Speaker 1: done is American Dreams. I really is the soundtrack. In
Speaker 1: two thousand eighteen. After that, I had a lot more
Speaker 1: commissions for student projects. I had some soundtrack to do
Speaker 1: for games. It's super fun to do. I really like
Speaker 1: working on real game It's not the same, like I
Speaker 1: can't imagine by myself all the situations you have to
Speaker 1: be prepared and to understand how it works video game
Speaker 1: and gint and it's like super interesting and give a
Speaker 1: lot of opportunities with all this music. Why do you
Speaker 1: give so much bet away from free? Because I can First,
Speaker 1: I want a better world with a lot of public
Speaker 1: domain stuff, and I want to contribute. But it's not
Speaker 1: like the only reason the biggest argument for me to
Speaker 1: put music into creative comments and for free is because
Speaker 1: I'm really bad at communicating with people and advertise my music.
Speaker 1: I don't like to do this and I don't want
Speaker 1: to do this because I see what happens when people
Speaker 1: do it most of the time. I don't like when
Speaker 1: labels are bands are like really out publicly like yeah
Speaker 1: this new album album. I'm just I don't like to
Speaker 1: do that. Maybe people like to do it, but me
Speaker 1: I don't want it. But if I can put my
Speaker 1: music like remixable for everyone and share double and stuff
Speaker 1: like that, maybe people will do this for me. And
Speaker 1: it happened. Freeing the music allows you to have access
Speaker 1: to spaces where people want music, like from the archive
Speaker 1: or jamindo. People here sometimes for listening to the music
Speaker 1: because there is like a ton of excellent music and
Speaker 1: from music Archaive, But a lot of people come because
Speaker 1: they work music for a placeholder for video games, movies,
Speaker 1: podcast This is the place to be if you want
Speaker 1: to have people wanting to listen to you. The way
Speaker 1: I thought about it, it was like, Okay, I want
Speaker 1: to share my music with people. I don't mind having
Speaker 1: remixes of my music. It's like fun. I want to
Speaker 1: to see when and where people can use my music.
Speaker 1: I want to be the closest to the public domain
Speaker 1: I can be, so you can use my music in
Speaker 1: a non commercial way and in a commercial way too,
Speaker 1: without attribution. Now I appear in all the layers of
Speaker 1: the search engine in free music. You can't miss me
Speaker 1: because I'm everywhere. What do you What do you think
Speaker 1: about commercial use of your work? No problem with that.
Speaker 1: People need music and want to commercialize their project. I mean,
Speaker 1: we live in a capitalist society. We need to make money.
Speaker 1: I really don't mind this use of my music. If
Speaker 1: you can send me ten books at some point, I
Speaker 1: don't mind too. But I don't mind if you don't.
Speaker 1: I really like people using my music because I feel
Speaker 1: like they love it and I'm happy. What's your relationship
Speaker 1: with this music? Once you put it out there. I'm
Speaker 1: a bit egotistick. I like to listen to my music,
Speaker 1: mostly because the music I created the music I want
Speaker 1: to listen to. Some albums I prefer another. But most
Speaker 1: of the time I listened to an album I didn't
Speaker 1: listen to and was thinking, Okay, this is not my
Speaker 1: best day and the album is good. I'm not crying
Speaker 1: over it, or I'm not like submerged by emotion, but
Speaker 1: I'm like, Okay, you did the best you could at
Speaker 1: this moment, and I hear it. Sometimes I listened to
Speaker 1: my music and I'm not thinking that it's my music.
Speaker 1: I've done a lot, so I don't remember everything. I
Speaker 1: think this is why I have so many nicknames too.
Speaker 1: When I listened to these old albums, I feel like
Speaker 1: it's a part of me, but now it's not mine anymore.
Speaker 1: This episode of Ephemeral was written and assembled by Alex Williams,
Speaker 1: with producers Max Williams and Trevor Young, and additional editing
Speaker 1: from Jesse Funk. Special thanks to Andy Reese for pronouncing
Speaker 1: all those artists names for me. The work of Roses
Speaker 1: are two and all their various pseudonyms can be found
Speaker 1: at loyalty freak news dot com, including information about reusing
Speaker 1: this music in your own projects or commissioning Rose for
Speaker 1: original works. Our next episode will be out July four.
Speaker 1: Until then, follow us on social media at Ephemeral Show,
Speaker 1: and for more podcasts from I Heeart Radio, visit the
Speaker 1: I Heart Radio app, Apple Podcasts, or wherever you listen
Speaker 1: to your favorite shows h s