【DERU专访】本色电音的视觉印象
[纪念ash music。后附DERU专访英文版本。已发表。转载请注明。]
【DERU：
本名Benjamin Wynn。八十年代生人。出生于芝加哥，现居洛杉机。毕业于加利福尼亚艺术学院，取得了音乐技术学位。（个人网站：http://www.meisderu.com/deru.html）】
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体验美好的泛泛经验，通常取决于事物的初印象——是否能够轻易地第一时间俘虏你。Deru的音乐和他的网站，带着戏剧性邂逅的玩兴意味，展现了这种极易让人为之倾倒的魅力。并没有太多华美的装点，只有潜藏的内在，以无邪的姿态卓然与你对望，这就是Deru。
Hip-hop结构的曲风，混合一丝漠然与哀伤的低调情感，寻遍细节之处，不断涌现耳目一新的听觉亮点，更加突显其有条不紊的创作态度。而注重各种元素融合的谨慎制作，也为Deru出色的听觉阵容作了最绝妙诠释。
个人最喜欢的Deru作品，是他2003年的专辑《Pushing Air》。Deru以新派氛围的独立气质，在电气创作的一派繁华之中，清新跳脱进你挑剔的耳。内敛低调的编排，不加修饰的人声，引诱你为之心碎的飘高音阶……Deru的这些特质，看似是对Xela（注：曾与Deru在同一个独立电子厂牌Neo Ouija的艺人）的模仿，但我们不难找出Deru个性之处：比如他对循环节拍、切分音和环境音效的偏好，还有一如既往的气氛营造，恰似徘徊于午夜门廊之时，耳边的阵阵低回倾诉。
不能不提及，Deru在这张专辑里的一曲 《Soulik》：电颤琴音调鳞次栉比，轻快活泼，Hip-hop节拍弹性十足，极富张力，暗线交缠的低音循环，润色，撩拨，为来来回回的主旋律平衡音色。Deru在我们耳边放飞了一个又一个脆弱而诱人的精灵，仅仅这一曲，就有足够理由让我们义无反顾地迷恋上名气并不大的Deru。
Deru的有趣之处还在于他善于散缀一些短小的序曲以及间奏曲，或采样音效，或数字拟音，转换，跃迁，过渡，如24秒一格的映画语言般欲说还休。他还喜欢将整张作品作为一个完全的整体来进行音效剪接，欣赏他的音乐，好比观赏了一出午夜场，有惊悚，有迷离，有哀婉，有跌宕的情节，有角色的交错。或许这和创作者本身对视像的敏锐触觉有关，翻阅他亲手拍摄的帧帧相片，率性却涵盖着深厚情感，摄影角度相当独特：湿漉漉的飞蛾、无休止的公路符号、一闪而过的光和影……音乐也好，摄影也好，贯穿始终的感官一体化，Deru的才气闪耀横溢其中。只是决定性的一曲或一瞥，你便永远不会忘记，这个只有24岁的，羞涩的大男孩。
初识Deru，就是因为上面提及的《Soulik》。当我很热烈急切地向他表达我和朋友对他的喜爱，他在BBS上压抑不住地欣喜，率真而又直接地表示了他的感谢。他自己或许从来没有想过，在遥远的中国，一个南方的小城市里，会有一小群同龄人如此喜爱他的音乐和摄影。当我决定通过互联网对他做一次采访时，他表现出来的低调谦卑，是我所始料不及的。
（以下是灰尘NK对Deru的个人专访）
NIKO：
你的专辑《Pushing Air》真的非常出色，尤其体现了你对各类音乐元素融会贯通的技巧性。究竟是什么赋予你创作的激情呢？
DERU:
或许应该从我还在芝加哥的时候说起。我是听HIPHOP长大的。那时候有一个很棒的大学电台“WHPK”。有一个DJ叫JP-Chill的，如果只能举例一个对我的音乐口味形成有重要影响的人的话，那就是他。要是让我说，他就是芝加哥HIPHOP音乐的最中心，是关键的灵魂人物……总的来说我觉得是芝加哥定型了我的音乐喜好。在这个城市生长，穿梭于闹市，尘埃，混凝土，美景，朋友，还有音乐之中，我一直对那些常人或许不大容易察觉的——那些不经修饰的，变幻莫测的，显而易见的事物情有独钟。我所喜欢的与HIPHOP有关的产物，就好比瞬息万变城市生活当中的尘埃和砂砾，它们未经雕琢，也没有被刻意地美化，并故意放在一个显眼的位置，以企图改变它们原本不起眼的状态。而我却总能将它们辨认出来。这就是我个人的审美观，从来也没有改变过。我爱极了各种杂音，爱极了序列结构，爱极了随机噪声。我将这些东西都放进我的音乐当中，我感觉我的音乐非常本色。我认为我就是这样的。
我最新的专辑的灵感全部来源于“思考”。比如我曾经苦苦思索过人类的记忆系统是如何工作的，为什么我能够记住某些东西，同时有些东西对我来说又很容易忘却？我还能记得住我14岁时听过的饶舌的歌词，但是两天前认识的人的名字我却记不了。我觉得无论是那些转瞬即逝的时刻，即使只是匆匆的一个照面，对我来说都非常地有趣。不过那听起来好象有点太随性了……
NIKO：
据我所知你的专业是“音乐技术”（Music Technology），对中国学生来说听起来似乎挺新奇挺好玩的一个专业，因为中国大学是没有这种专门的学位的。你可以向我们做一下介绍么？
DERU:
有一次我发现在LA的加利福尼亚艺术学院居然有“音乐技术”这个学位。于是我去了那里，并在那里度过了四年。我们学习的内容包括合成技术，数码讯息处理，声学，作曲，世界音乐，工程学等等。那真的是令人难忘的经历，实实在在地让我对“声音”这个词有了全面的了解，这些课程让我掌握了关于声音的最基础的原理。虽然听上去有点陈词滥调了，但我仍然要说是这些课程让我有能力去学到更多的东西。
NIKO：
能说说你最喜欢的艺人或者专辑吗？
DERU:
嗯……终于说到我最喜爱的音乐了。我的口味比较全方位吧。我迷恋像Ligity 和巴托克这些20世纪的作曲家。而我也喜欢艾林顿公爵和查尔斯．明格斯。当然，HIPHOP是我一贯的喜好，还有Aceyalone以及BROTHER J! 如果你们那里有谁听过BROTHER J的，告诉我，他可真是不得了。（笑）还有Iron & Wine, Lusine, Milosh, Beth Gibbons 以及 Rustin Man……啊，太多了，我就不继续讲了。
NIKO：
我曾经读过一篇关于你的英文介绍，里面提到了一个形容词"cinematic"（电影的），作者用这个词来形容你的专辑《Pushing Air》。我非常喜欢这个词。从你拍的那些照片里，我也感到你个人对着视觉有着一种极为独特的审美。你对这个说法有什么看法？
DERU:
是啊，我也喜欢"cinematic"这个修辞。我认为它准确地表达出它所要诠释的东西。我曾经有过一个想法：在工作室的墙上放映幻灯片，以此来启发自己的灵感。然后我们或许可以从图像里催生一些新的想法，比如声音啊，氛围啊，或者合成等等。虽然后来我没有将这个想法付诸实际，但我觉得这个主意一定很不错。其实在我接触音乐之前，我的理想是当一名摄影师。无论是音乐还是我的摄影作品时，它们都有很多相似的地方。它们都很本色，有时候还体现了一种忧郁的情感。
NIKO：
能说说你目前在音乐创作上的一些状况吗？比如，你最新的专辑，你的创作意向，你的创作计划之类的。
DERU:
现阶段的我，更多地是希望找出接下来的专辑要写什么样的音乐，我要集中表现哪些东西。个人感觉《Trying To Remember》（注：2004年Merck出品）是一张相当自我的专辑，我希望新专辑能够更加清晰表达我的思想，更加讨好。谁也说不准接下来会出现一张什么样的专辑呢。就现在而言，我尝试着在写新作品之前，不要让自己有太多的局限。自己大多数的作品其实都表达了一个“变化”的主题，至少这个主题是我的创作起源。通常我会从某种事物比如一个单纯的声响开始，通过不断地对这个声音进行处理变化，直到我突然有了创作的灵感，就是这样，这是个有趣的体验过程，你永远不知道接下来会发生什么事。
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观看DERU更多拍摄作品请点击这里:
http://www.meisderu.com/hawaiiPics_WEB/index.html
DERU的MYSPACE MUSIC地址：
http://www.myspace.com/iamderu
试听可能会有点断续。外国空间的关系。时好时坏。
______________专题采访英文版本分割线___________
Deru has previously come to our attention with his excellent contribution to the most recent installment in Mille Plateaux’s Clicks and Cuts series, a blistering downcast blend of hip hop constuctions and deep micro-emissions that really stood out alongside a strong, more established line-up. “Pushing Air” carries the theme, from the DSP’d neon ambience of beatless intro “Up” to the introspective shimmering keys, breathy vocals and stomach-moving basslines of “Echoes of Me”. This is an apt follow-up to Xela’s masterpiece, finding in itself a love for the b-beats and the midnight tones, both ambient and syncopated, always deep. “Soulik” is a real standout, the sound of a marimba, or a vibraphone of sorts presenting the lilting melody in sequence, a squashed stretch of reverberated hip hop beats, underground bass movements and tones, all produced with that fragility that is so addictive and moving. The album is interspersed with 5 mini-sequences or interludes, cut-up transition points that add to the overall cinematic effect that’s at play throughout a brilliant album. Highly Recommended.
The interview with DERU
(By NIKO from ASH MUSIC)
Niko:
Your album is really outstanding. Especially the skill of combining all the elements. What gives you energy and inspires you to creative these marvellous theme?
DERU:
Well I guess we could start by saying that I grew up listening to Hip-Hop in Chicago. We had an amazing college radio station called WHPK and there was (and still is) a DJ there named JP-Chill. If there was one single person that shaped my musical tastes it's that man. He's the heart and soul of Chicago hip-hop if you ask me... And I feel that Chicago shaped my musical tastes in general. Growing up in the city, being exposed to city things, dirt, concrete, beauty, friends, music. I've always liked "uncovering" things, changing things, exposing things that others might not notice. What I liked about hip-hop production was the dirtiness of it, the grittiness. It wasn't polished or clean and instead it exploited the dirtiness, made it center stage. I've always identified with that. And that's still my aesthetic today. I love noise. I love textures. I love static. I bring those things out in my music. I feel my music is very textural. I think in that way.
My last album for me was all about thoughts. I was into thinking about how memory functions, and how I can remember certain things while being so bad at others. I know words to rap songs I heard when I was 14, yet names of people I met two days ago are gone. Those fleeting moments were interesting to me. And those glimpses of recognition. But anyway, that sounds too heady...
Niko:
As we know you majored in Music Technology-----That sounds cool to Chinese students. 'Cause we don't have this kind of speciality. Could you express what it concerns?
DERU:
Once I discovered there was a degree called "Music Technology" I was sold. I went to a place called California Institute of the Arts in LA and studied for four years. We studied synthesis and digital signal processing, acoustics, composition, world music, engineering. It was amazing. It definitely gave me a basis of understanding sound that I wouldn't have without it. They gave me the ability to learn more... As cliche as that sounds.
Niko:
Could you say someting about your favourite artists or album?
DERU:
Hmmmm. My favorite music right now. It's all over the place. I've been getting into 20th Century composers like Ligity and Bartok. And I've been into Duke Ellington and Charles Mingus. And as always, hip hop, old and new - Aceyalone. BROTHER J! If anybody else out there has heard of Brother J, let me know. He's the shit. Iron & Wine, Lusine, Milosh, Beth Gibbons and Rustin Man... I shouldn't even continue.
Niko:
I came across an English article about you. And it gives out a word "cinematic" to describe your album. I love that word. And also from the pics you shoot I do find you have quite a neat sense on vision. What do you think of that?
DERU:
yes, i like the word "cinematic" too. i thing it's pretty accurate. i used to have this idea of displaying slide images on the wall in my studio for inspiration. you could extrapolate ideas from the images like sounds, mood, composition. i haven't done it, but i do think in those terms. i wanted to be a photographer before i got into music. and i think in lots of ways my music and photos are similar. they are both very textural, and sometimes, moody. forgive me if i start repeating myself, i don't remember exactly what we talked about last time.
Niko:
Could you tell us more about your situation on music by now? I mean, your latest album , your interest on writing music, or your plan and so on.
DERU:
music for me right now is about exploring what my new album is going to be about, what it's focus is going to be. i feel that Trying To Remember was a rather personal album. i'd like to make an album that's a bit more extraverted and outgoing. that being said who knows what will come out of it. i try not to put limitations on myself before i write. most of my music is about transformations, at least that's how its derived. i always start with something like a sound and manipulate it until i can bring out what it is that intrigues me about it. so in that way, it's just fun to see what happens.
[http://nikobaby.ycool.com/post.2463194.html]
【DERU：
本名Benjamin Wynn。八十年代生人。出生于芝加哥，现居洛杉机。毕业于加利福尼亚艺术学院，取得了音乐技术学位。（个人网站：http://www.meisderu.com/deru.html）】
————————————————————————
体验美好的泛泛经验，通常取决于事物的初印象——是否能够轻易地第一时间俘虏你。Deru的音乐和他的网站，带着戏剧性邂逅的玩兴意味，展现了这种极易让人为之倾倒的魅力。并没有太多华美的装点，只有潜藏的内在，以无邪的姿态卓然与你对望，这就是Deru。
Hip-hop结构的曲风，混合一丝漠然与哀伤的低调情感，寻遍细节之处，不断涌现耳目一新的听觉亮点，更加突显其有条不紊的创作态度。而注重各种元素融合的谨慎制作，也为Deru出色的听觉阵容作了最绝妙诠释。
个人最喜欢的Deru作品，是他2003年的专辑《Pushing Air》。Deru以新派氛围的独立气质，在电气创作的一派繁华之中，清新跳脱进你挑剔的耳。内敛低调的编排，不加修饰的人声，引诱你为之心碎的飘高音阶……Deru的这些特质，看似是对Xela（注：曾与Deru在同一个独立电子厂牌Neo Ouija的艺人）的模仿，但我们不难找出Deru个性之处：比如他对循环节拍、切分音和环境音效的偏好，还有一如既往的气氛营造，恰似徘徊于午夜门廊之时，耳边的阵阵低回倾诉。
不能不提及，Deru在这张专辑里的一曲 《Soulik》：电颤琴音调鳞次栉比，轻快活泼，Hip-hop节拍弹性十足，极富张力，暗线交缠的低音循环，润色，撩拨，为来来回回的主旋律平衡音色。Deru在我们耳边放飞了一个又一个脆弱而诱人的精灵，仅仅这一曲，就有足够理由让我们义无反顾地迷恋上名气并不大的Deru。
Deru的有趣之处还在于他善于散缀一些短小的序曲以及间奏曲，或采样音效，或数字拟音，转换，跃迁，过渡，如24秒一格的映画语言般欲说还休。他还喜欢将整张作品作为一个完全的整体来进行音效剪接，欣赏他的音乐，好比观赏了一出午夜场，有惊悚，有迷离，有哀婉，有跌宕的情节，有角色的交错。或许这和创作者本身对视像的敏锐触觉有关，翻阅他亲手拍摄的帧帧相片，率性却涵盖着深厚情感，摄影角度相当独特：湿漉漉的飞蛾、无休止的公路符号、一闪而过的光和影……音乐也好，摄影也好，贯穿始终的感官一体化，Deru的才气闪耀横溢其中。只是决定性的一曲或一瞥，你便永远不会忘记，这个只有24岁的，羞涩的大男孩。
初识Deru，就是因为上面提及的《Soulik》。当我很热烈急切地向他表达我和朋友对他的喜爱，他在BBS上压抑不住地欣喜，率真而又直接地表示了他的感谢。他自己或许从来没有想过，在遥远的中国，一个南方的小城市里，会有一小群同龄人如此喜爱他的音乐和摄影。当我决定通过互联网对他做一次采访时，他表现出来的低调谦卑，是我所始料不及的。
（以下是灰尘NK对Deru的个人专访）
NIKO：
你的专辑《Pushing Air》真的非常出色，尤其体现了你对各类音乐元素融会贯通的技巧性。究竟是什么赋予你创作的激情呢？
DERU:
或许应该从我还在芝加哥的时候说起。我是听HIPHOP长大的。那时候有一个很棒的大学电台“WHPK”。有一个DJ叫JP-Chill的，如果只能举例一个对我的音乐口味形成有重要影响的人的话，那就是他。要是让我说，他就是芝加哥HIPHOP音乐的最中心，是关键的灵魂人物……总的来说我觉得是芝加哥定型了我的音乐喜好。在这个城市生长，穿梭于闹市，尘埃，混凝土，美景，朋友，还有音乐之中，我一直对那些常人或许不大容易察觉的——那些不经修饰的，变幻莫测的，显而易见的事物情有独钟。我所喜欢的与HIPHOP有关的产物，就好比瞬息万变城市生活当中的尘埃和砂砾，它们未经雕琢，也没有被刻意地美化，并故意放在一个显眼的位置，以企图改变它们原本不起眼的状态。而我却总能将它们辨认出来。这就是我个人的审美观，从来也没有改变过。我爱极了各种杂音，爱极了序列结构，爱极了随机噪声。我将这些东西都放进我的音乐当中，我感觉我的音乐非常本色。我认为我就是这样的。
我最新的专辑的灵感全部来源于“思考”。比如我曾经苦苦思索过人类的记忆系统是如何工作的，为什么我能够记住某些东西，同时有些东西对我来说又很容易忘却？我还能记得住我14岁时听过的饶舌的歌词，但是两天前认识的人的名字我却记不了。我觉得无论是那些转瞬即逝的时刻，即使只是匆匆的一个照面，对我来说都非常地有趣。不过那听起来好象有点太随性了……
NIKO：
据我所知你的专业是“音乐技术”（Music Technology），对中国学生来说听起来似乎挺新奇挺好玩的一个专业，因为中国大学是没有这种专门的学位的。你可以向我们做一下介绍么？
DERU:
有一次我发现在LA的加利福尼亚艺术学院居然有“音乐技术”这个学位。于是我去了那里，并在那里度过了四年。我们学习的内容包括合成技术，数码讯息处理，声学，作曲，世界音乐，工程学等等。那真的是令人难忘的经历，实实在在地让我对“声音”这个词有了全面的了解，这些课程让我掌握了关于声音的最基础的原理。虽然听上去有点陈词滥调了，但我仍然要说是这些课程让我有能力去学到更多的东西。
NIKO：
能说说你最喜欢的艺人或者专辑吗？
DERU:
嗯……终于说到我最喜爱的音乐了。我的口味比较全方位吧。我迷恋像Ligity 和巴托克这些20世纪的作曲家。而我也喜欢艾林顿公爵和查尔斯．明格斯。当然，HIPHOP是我一贯的喜好，还有Aceyalone以及BROTHER J! 如果你们那里有谁听过BROTHER J的，告诉我，他可真是不得了。（笑）还有Iron & Wine, Lusine, Milosh, Beth Gibbons 以及 Rustin Man……啊，太多了，我就不继续讲了。
NIKO：
我曾经读过一篇关于你的英文介绍，里面提到了一个形容词"cinematic"（电影的），作者用这个词来形容你的专辑《Pushing Air》。我非常喜欢这个词。从你拍的那些照片里，我也感到你个人对着视觉有着一种极为独特的审美。你对这个说法有什么看法？
DERU:
是啊，我也喜欢"cinematic"这个修辞。我认为它准确地表达出它所要诠释的东西。我曾经有过一个想法：在工作室的墙上放映幻灯片，以此来启发自己的灵感。然后我们或许可以从图像里催生一些新的想法，比如声音啊，氛围啊，或者合成等等。虽然后来我没有将这个想法付诸实际，但我觉得这个主意一定很不错。其实在我接触音乐之前，我的理想是当一名摄影师。无论是音乐还是我的摄影作品时，它们都有很多相似的地方。它们都很本色，有时候还体现了一种忧郁的情感。
NIKO：
能说说你目前在音乐创作上的一些状况吗？比如，你最新的专辑，你的创作意向，你的创作计划之类的。
DERU:
现阶段的我，更多地是希望找出接下来的专辑要写什么样的音乐，我要集中表现哪些东西。个人感觉《Trying To Remember》（注：2004年Merck出品）是一张相当自我的专辑，我希望新专辑能够更加清晰表达我的思想，更加讨好。谁也说不准接下来会出现一张什么样的专辑呢。就现在而言，我尝试着在写新作品之前，不要让自己有太多的局限。自己大多数的作品其实都表达了一个“变化”的主题，至少这个主题是我的创作起源。通常我会从某种事物比如一个单纯的声响开始，通过不断地对这个声音进行处理变化，直到我突然有了创作的灵感，就是这样，这是个有趣的体验过程，你永远不知道接下来会发生什么事。
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观看DERU更多拍摄作品请点击这里:
http://www.meisderu.com/hawaiiPics_WEB/index.html
DERU的MYSPACE MUSIC地址：
http://www.myspace.com/iamderu
试听可能会有点断续。外国空间的关系。时好时坏。
______________专题采访英文版本分割线___________
Deru has previously come to our attention with his excellent contribution to the most recent installment in Mille Plateaux’s Clicks and Cuts series, a blistering downcast blend of hip hop constuctions and deep micro-emissions that really stood out alongside a strong, more established line-up. “Pushing Air” carries the theme, from the DSP’d neon ambience of beatless intro “Up” to the introspective shimmering keys, breathy vocals and stomach-moving basslines of “Echoes of Me”. This is an apt follow-up to Xela’s masterpiece, finding in itself a love for the b-beats and the midnight tones, both ambient and syncopated, always deep. “Soulik” is a real standout, the sound of a marimba, or a vibraphone of sorts presenting the lilting melody in sequence, a squashed stretch of reverberated hip hop beats, underground bass movements and tones, all produced with that fragility that is so addictive and moving. The album is interspersed with 5 mini-sequences or interludes, cut-up transition points that add to the overall cinematic effect that’s at play throughout a brilliant album. Highly Recommended.
The interview with DERU
(By NIKO from ASH MUSIC)
Niko:
Your album is really outstanding. Especially the skill of combining all the elements. What gives you energy and inspires you to creative these marvellous theme?
DERU:
Well I guess we could start by saying that I grew up listening to Hip-Hop in Chicago. We had an amazing college radio station called WHPK and there was (and still is) a DJ there named JP-Chill. If there was one single person that shaped my musical tastes it's that man. He's the heart and soul of Chicago hip-hop if you ask me... And I feel that Chicago shaped my musical tastes in general. Growing up in the city, being exposed to city things, dirt, concrete, beauty, friends, music. I've always liked "uncovering" things, changing things, exposing things that others might not notice. What I liked about hip-hop production was the dirtiness of it, the grittiness. It wasn't polished or clean and instead it exploited the dirtiness, made it center stage. I've always identified with that. And that's still my aesthetic today. I love noise. I love textures. I love static. I bring those things out in my music. I feel my music is very textural. I think in that way.
My last album for me was all about thoughts. I was into thinking about how memory functions, and how I can remember certain things while being so bad at others. I know words to rap songs I heard when I was 14, yet names of people I met two days ago are gone. Those fleeting moments were interesting to me. And those glimpses of recognition. But anyway, that sounds too heady...
Niko:
As we know you majored in Music Technology-----That sounds cool to Chinese students. 'Cause we don't have this kind of speciality. Could you express what it concerns?
DERU:
Once I discovered there was a degree called "Music Technology" I was sold. I went to a place called California Institute of the Arts in LA and studied for four years. We studied synthesis and digital signal processing, acoustics, composition, world music, engineering. It was amazing. It definitely gave me a basis of understanding sound that I wouldn't have without it. They gave me the ability to learn more... As cliche as that sounds.
Niko:
Could you say someting about your favourite artists or album?
DERU:
Hmmmm. My favorite music right now. It's all over the place. I've been getting into 20th Century composers like Ligity and Bartok. And I've been into Duke Ellington and Charles Mingus. And as always, hip hop, old and new - Aceyalone. BROTHER J! If anybody else out there has heard of Brother J, let me know. He's the shit. Iron & Wine, Lusine, Milosh, Beth Gibbons and Rustin Man... I shouldn't even continue.
Niko:
I came across an English article about you. And it gives out a word "cinematic" to describe your album. I love that word. And also from the pics you shoot I do find you have quite a neat sense on vision. What do you think of that?
DERU:
yes, i like the word "cinematic" too. i thing it's pretty accurate. i used to have this idea of displaying slide images on the wall in my studio for inspiration. you could extrapolate ideas from the images like sounds, mood, composition. i haven't done it, but i do think in those terms. i wanted to be a photographer before i got into music. and i think in lots of ways my music and photos are similar. they are both very textural, and sometimes, moody. forgive me if i start repeating myself, i don't remember exactly what we talked about last time.
Niko:
Could you tell us more about your situation on music by now? I mean, your latest album , your interest on writing music, or your plan and so on.
DERU:
music for me right now is about exploring what my new album is going to be about, what it's focus is going to be. i feel that Trying To Remember was a rather personal album. i'd like to make an album that's a bit more extraverted and outgoing. that being said who knows what will come out of it. i try not to put limitations on myself before i write. most of my music is about transformations, at least that's how its derived. i always start with something like a sound and manipulate it until i can bring out what it is that intrigues me about it. so in that way, it's just fun to see what happens.
[http://nikobaby.ycool.com/post.2463194.html]
