Notes on composition:
Benthos was composed in December 2014 using samples of ephemeral/industrial films found in the Prelinger Archives. Each movement in Benthos was created using the same process: I sampled a few seconds of sound (sometimes less than a second) from an ephemeral/industrial film, stretched the sample, explored the stretched sample for “found sounds”, sampled and stretched those sounds, explored them, repeated the process ad nauseam, further distorted them, and finally combined the new sounds into movements.
This stretch-and-sample, sample-and-stretch process was a deconstructive descent, and the “found sounds” became increasingly unfamiliar. When I finished the first movement, I felt like I’d reached the lightless floor of an alien ocean, and that feeling became my goal: I wanted Benthos to capture its creation; to be a deconstructive experience; to feel like a descent to an unfamiliar place.
Zenaida was created in July 2015 using the same process that I used for Benthos. I created Zenaida immediately after returning home from spending the golden hour in a field, and I tried to translate that feeling into sound.
Sean Hogan lives in the Midwest, and the Midwest lives in him; it’s mostly symbiotic. When he’s not writing, he should be writing.
Image banner: still from Solaris by Andrei Tarkovsky