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The music I make is the music I want / need to listen to. It’s the sound of my life and experience and the things that they push me to question, express and deal with. Music or any creative act should force you to react to these things and in many ways I’m doing this by holding an ongoing dialogue with various incarnations of myself on the things which I’m only now capable of answering. But, I think due to the frames of reference and emotional tools we share as people, communication with self can also be communication with something deeper and of much wider meaning so I feel that in my music there is a always a close connection to this too.


There are broader, abstract visual elements and often the invocation of a sense of colour, time or place; of things which I hope strike a chord on subconscious levels of association in others. As a committed skeptic and non-believer I’m also fascinated and inspired by larger, more directly challenging themes and these are reflected in tracks such as “infinite regress”, and “the withered fig tree”. 


Many people don’t question faith or its tenets or even worse think that faith is somehow immune to analysis, comment or criticism and this saddens me. Battles for the right to think rationally are being fought everyday all over the world, both ‘third’ and ‘first, and I feel a need to contribute. I don’t aim to jolt or shock but rather peel back and expose. This is the root of the melancholy in my style, but there is also a light, lyrical quality that always seems to creep in.


Compositionally to me it’s all about moments. In those pieces which really carry a heavy emotional charge by the guys who have had a huge effect on me as both a listener, musician, and ultimately as a person, there are breathtaking moments of the sublime which I’ve always thought should be caught and stretched out into infinitely looping, meandering works in their own right. I have always been captivated and selfishly frustrated by these fleeting glimpses so now I search for them in the construction of my own rather less illustrious efforts. I compose freely and loosely trying to find these moments naturally through the spontaneous exploration of textures and phrases and how they work in place(s) in the sound field. Building in layers on all sides, always looking to add and never hide, my pieces can be seen as simple, evolving 3D complexes of imagery; as washes of colour; strokes and stabs with the brush. When viewed from the right angle there is the suggestion of a picture that they make together; of how the moment would look fleshed out to its fullest. Then I join the dots in picture. The results are often strikingly musical which is a quality I didn’t know I had. In many ways I feel that what I do is in fact much more akin to painting than making music and for this reason I could no more play what I do live than I could stand in front of an easel with my back to an audience while I got busy with the oils.


This is to be ongoing an project to investigate the depths I can reach and the associations I can make with sound using a visual sense of the soundscape to open doors to a type of music free from constraints and formulae whilst avoiding unnecessary harshness, dissonance or devices. But always in search of the moment.


Valencia, Spain 2010

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