{"id":5449,"date":"2015-06-15T12:07:47","date_gmt":"2015-06-15T10:07:47","guid":{"rendered":"https:\/\/www.psybient.org\/love?p=5449"},"modified":"2018-03-01T14:54:28","modified_gmt":"2018-03-01T13:54:28","slug":"interview-ott","status":"publish","type":"post","link":"https:\/\/www.psybient.org\/love\/interview-ott\/","title":{"rendered":"Interview with Ott"},"content":{"rendered":"<p>British bred auditory assassin &#8211; named nothing more or less than, <strong>Ott.<\/strong> &#8211; needs no introduction for Psybient.org friends. As his musical actions have psychedelic learly spoken for himself (many decibels louder than mere description) over more than a decade now. From \u201cSplitting an Atom\u201d in a studio laboratory, conjuring the unmistakable energy of his debut bloom of an album, Blumenkraft. To the delightfully beautiful \u201cDaisies and Rubies\u201d that spiraled into the sky-high Skylon of his second sojourn. All of which allowed Ott to set \u201cAdrift in Hilbert Space\u201d on Mir &#8211; the musical space station of a third LP, which launched many a special outings with The All-Seeing I. It has truly been an honour and blessing to have our ears, brains, and sometimes even entire being, transported to immeasurable mystical dimensions through Ott\u2019s ever-transcendent soundscaping.<\/p>\n<p>There is nothing but absolute thanks to be given for Ott taking the time to talk with us about his musical meanderings; from childhood to the present. So please enjoy our chatting, and make sure to show your love and appreciation to a musician that has molded sonic sculptures like none other than, well, him..  <\/p>\n<p><strong>Introduction and Interview by Kevin Fairbanks<\/strong><\/p>\n<blockquote><p>Can you remember your first moment with music as a young child?<\/p><\/blockquote>\n<p>Probably \u2018Bridge Over Troubled Water\u2019 by Simon and Garfunkel. It was a massive hit when I was a baby and I think my mum must have played it incessantly because it is burned into my psyche. But the most influential musical moment would have been \u2018Autobahn\u2019 by Kraftwerk. My mum was a huge fan of early electronic music and I was introduced to Kraftwerk at a very early age. <\/p>\n<blockquote><p>Do you ever ponder the progression of electronic music over your lifetime? Are there any moments that stick out to you in particular aside from your first discovery of Kraftwerk?<\/p><\/blockquote>\n<p>Many. <\/p>\n<p>Trans Europe Express.<br \/>\nOxygene<br \/>\nUpstairs At Erics<br \/>\nBlue Monday<br \/>\nLittle Fluffy Clouds<br \/>\nFutureworld<br \/>\nDo You Know Squarepusher?<br \/>\nTowers Of Dub<br \/>\nVessel<\/p>\n<blockquote><p>When did you start to see your purpose through creating in general?<\/p><\/blockquote>\n<p>When I saw \u2018The Sweet\u2019 performing their hit \u2018Blockbuster\u2019 on TV at the age of five I knew being a pop-star was the best job in the world. <\/p>\n<p><iframe loading=\"lazy\" width=\"1080\" height=\"608\" src=\"https:\/\/www.youtube.com\/embed\/Y64211sjSko?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>I was 12 when I started messing around with tape recorders and I knew pretty soon that I wanted to record sound for a living.<\/p>\n<blockquote><p>What was that first step you took into actually messing around with music? Looking back on that now, what are your thoughts?<\/p><\/blockquote>\n<p>My parents bought me a small electric organ for Christmas when I was 12 years old, and although I was fascinated by the science and mathematics of scales and harmonies, it was the process of layering and mixing sounds with a couple of old cassette decks which really inspired me. I never wanted to become a proficient pianist or guitarist &#8211; I was more attracted to being a studio boffin. Once I discovered psychedelic drugs a few years later the whole thing fell into place. <\/p>\n<blockquote><p>Let\u2019s go back to the beginning, in your engineering days. Can you talk to us about these formative years and how they shaped who you are today?<\/p><\/blockquote>\n<p>I actually played in bands for five years before that, as a rather bad keyboard player. I did a few hundred gigs, had a lot of fun but got nowhere. It wasn\u2019t until 1990, realising life was passing me by, that I decided to find a job in a recording studio. From humble beginnings, recording terrible bands in dreadful studios, I eventually became a busy and in-demand freelance engineer. <\/p>\n<p>Working on others\u2019 music under pressure of time and creative difference was a great education. I saw the major label music industry up close which taught me a lot about what I didn\u2019t want to do. <\/p>\n<blockquote><p>What was the catalyst for creating and releasing your own music? How did you decide from all your influences what you wanted to put out, especially coming in as an engineer for so many styles\/genres? <\/p><\/blockquote>\n<p>In about 1997 I fell and injured my back, and was unable to sit, stand or walk. All I could do was lay on my front for two years and watch as my career as a freelance engineer went down the drain. <\/p>\n<p>To keep myself occupied, I arranged my home studio equipment on the floor, near the doors to my garden, and I spent the time experimenting with sounds and rhythms. These experiments eventually became my first solo album, <em>Blumenkraft<\/em>. <\/p>\n<p><iframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=257849925\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless><a href=\"http:\/\/ottsonic.bandcamp.com\/album\/blumenkraft-2\">Blumenkraft by Ott.<\/a><\/iframe><\/p>\n<blockquote><p>Since this start, you\u2019ve obviously incorporated a heavy dub influence in your music. Could you describe your personal relationship with dub?<\/p><\/blockquote>\n<p>My sister used to listen to a lot of dub and reggae in the 1980s and although I didn\u2019t really feel it at the time &#8211; I was into Depeche Mode and The Human League as a teenager &#8211; the influence was clearly there. It wasn\u2019t until my late teens when I discovered smoking weed and my sister\u2019s old dub collection at the same time that my love for 1970\u2019s roots dub was established. <\/p>\n<blockquote><p>How about you relationship with electronic, ambient, and psychedelic music? <\/p><\/blockquote>\n<p>In the 1970s it was my mother\u2019s Kraftwerk and Wendy Carlos albums which kicked off my interest in synthesisers. During the 1980s, as a young teenager, my music collection was dominated by the \u201csecond wave\u201d of electronic musicians &#8211; Depeche Mode, Yazoo, The Human League, OMD, Gary Numan, etc. <\/p>\n<p>Toward the end of the \u201880s and the beginning of the \u201890s, the acid house\/ revolution took over, and while I found myself disinterested in most \u2018rave\u2019 music, I found a home for my tastes in The Orb, FSOL, On-U-Sound and the likes of Orbital, Fluke, Leftfield, The Prodigy etc. <\/p>\n<blockquote><p>What has been your all-time favorite experience as a fan of music?<\/p><\/blockquote>\n<p>Cardiacs, Astoria, London, May 6th, 1988. Mind blowing, still. <\/p>\n<blockquote><p>All musicians must start as fans. Did you have different intentions when you began to make music then you do today? Has anything changed?<\/p><\/blockquote>\n<p>Not really. It\u2019s all just a process of trying to create shapes I\u2019ve never heard before. <\/p>\n<blockquote><p>That seems as good an intention as any. When you say \u201cshapes you\u2019ve never heard before\u201d, would you mind me asking if you possibly consider yourself to have some level of synesthesia?<\/p><\/blockquote>\n<p>I have no idea and I\u2019m not sure how one could tell. I presume everybody interprets music, colour and taste as shapes of some kind. <\/p>\n<blockquote><p>How often do you ponder the process of putting together a tune? Do some tracks take weeks and months to develop while others unfold in a matter of minutes?<\/p><\/blockquote>\n<p>They all take weeks, some months. One or two have taken years.<\/p>\n<blockquote><p>Which have taken years?<\/p><\/blockquote>\n<p>\u201cThe Queen Of All Everything\u201d was started in 2004 and finished in 2008, although it wasn\u2019t constantly being worked on. I would take it out of the drawer, do a little on it and put it away again. I kept doing that until I felt it was ready to mix and then I finished it.<br \/>\n\u201cRogue Bagel\u201d was about five different songs [working title \u2018Dave\u2019] from 2005 until 2007. None of them were good enough and it only really took shape in the last month of being worked on. <\/p>\n<p><iframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3248819919\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless><a href=\"http:\/\/ottsonic.bandcamp.com\/album\/skylon\">Skylon by Ott.<\/a><\/iframe><\/p>\n<blockquote><p>Are there any points that you felt a sea change in your approach to production?<\/p><\/blockquote>\n<p>In 2001, after a decade of either making other people\u2019s music, to their taste, or trying desperately to conform by making what I thought people wanted [bad psy-trance] I decided to stop giving a shit and please myself instead. I switched off my \u2018internal heckler\u2019 and made something just for me. That turned out to be \u2018Somersettler\u2019. That was a huge moment of realisation. You wouldn\u2019t believe the number of shits I haven\u2019t given since then. <\/p>\n<blockquote><p>That seems like a good retrospect to have. What do you believe the purpose of time to be, and how does music in general interact with this phenomena for you personally?<\/p><\/blockquote>\n<p>I have never given it a thought. I\u2019m not sure time needs a purpose. Like most things, it just is.<\/p>\n<blockquote><p>You\u2019ve released three official LPs so far. Are you able to identify your mindset in retrospect for the creation of each album? Is there any particular experience in creating one of these albums that really stands out to you?<\/p><\/blockquote>\n<p>No, they all just blur together. I can\u2019t remember much about the making of any of my albums. As soon as I\u2019ve finished a song I discard all the data and move on. <\/p>\n<blockquote><p>So when you listen to an older track yourself, what kind of feeling do you get? That must be much more enjoyable than for those musicians who wish to dwell too much in their past.<\/p><\/blockquote>\n<p>I mostly enjoy listening to my older stuff, although some tracks more than others. Some I judge harshly, either from a technical or an artistic point of view. Usually technical. <\/p>\n<blockquote><p>The opening track \u201cJack\u2019s Cheese and Bread Snack\u201d on your debut LP Blumenkraft has to be one of my favorite introductions to an artist. Do you remember your mindset\/setting when putting together that particular track?<\/p><\/blockquote>\n<p>It took forever to finish. I had the basic track together quite quickly but it just wouldn\u2019t sound finished. I kept adding layer after layer and tried changing the tempo and groove but nothing I did made it sound any closer to being finished. Then one day my friend Daz came to visit and he always has his bass guitar in the car. I played him the track and he said \u2018Sounds great, but your bassline is shit.\u201d And he was right. <\/p>\n<p>So he offered to play some bass on it. What you hear is what he played, in one take. As soon as it was done the track sounded finished, so I mixed it and it was done by the end of the day. <\/p>\n<blockquote><p>Who is Jack anyways?<\/p><\/blockquote>\n<p>The title refers to a reader\u2019s letter I read in \u2018Viz\u2019 comic:<\/p>\n<p> \u201cA piece of cheese served between two slices of bread makes a quick and tasty lunchtime snack. My wife calls it \u201cJack\u2019s Cheese and Bread Snack\u201d. <\/p>\n<p>Jack Pewty, Dorset.\u201d<\/p>\n<blockquote><p>What or who is truly the queen of all everything?<\/p><\/blockquote>\n<p>Zoe, my wife. I wrote the song just after we met. <\/p>\n<blockquote><p>How about \u201cSquirrel and Biscuits\u201d? That frequently on your dinner plate?<\/p><\/blockquote>\n<p>I was travelling through Arkansas with my friend Jason Sterling and he was telling me how he hunts with his dogs. \u201cWhat do you hunt?\u201d I asked. \u201cSquirrels.\u201d He replied. \u201cDo you eat them?\u201d I asked. \u201cYeah, squirrel and biscuits.\u201d <\/p>\n<p>\u201cObvious song title.\u201d I thought. . <\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.psybient.org\/love\/wp-content\/uploads\/ott-header.jpg\" alt=\"ott-header\" width=\"960\" height=\"255\" class=\"alignnone size-full wp-image-5487\" srcset=\"https:\/\/www.psybient.org\/love\/wp-content\/uploads\/ott-header.jpg 960w, https:\/\/www.psybient.org\/love\/wp-content\/uploads\/ott-header-627x167.jpg 627w, https:\/\/www.psybient.org\/love\/wp-content\/uploads\/ott-header-300x80.jpg 300w, https:\/\/www.psybient.org\/love\/wp-content\/uploads\/ott-header-50x13.jpg 50w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\" \/><\/p>\n<blockquote><p>Your most recent release was the Baby Robot EP. What are your views on technology? What was the purpose of this EP for you?<\/p><\/blockquote>\n<p>I couldn\u2019t work without it. <\/p>\n<p>The \u2018Baby Robot\u2019 EP was partly an attempt to answer a question I\u2019ve been pondering for a while: Which sounds better, digital or analogue?<\/p>\n<p>The song \u2018Baby Robot\u2019 was made using only analogue synths and effects, while \u2018Mr Balloon Hands\u2019 was made using only plugins. The experiment was inconclusive &#8211; I can hear they sound different but I don\u2019t think one sounds obviously better than the other. <\/p>\n<blockquote><p>That\u2019s a very interesting experiment and outcome, Ott. Why do you think there has been so much talk about these differences from documentaries, to dramatic articles, we\u2019re always hearing about this debate. You seem unphased.<\/p><\/blockquote>\n<p>Because the shift from digital to analogue has been the most significant development in the technical aspect of recording sound in the last thirty five years. It\u2019s like the move from propellers to jets in aviation or the move from cell phones to smartphones. It\u2019s a fundamental shift. <\/p>\n<p>In the \u201880s and \u201890s all we wanted was digital recording because so much time, energy and expense was spent compensating for the shortcomings of tape, but when it arrived we discovered that, while the noise floor was lower, it actually sounded shit. The last couple of decades have been a process of transition, from analogue tape to digital tape, to hard disk recording, to DSP-supported computer systems, to native computer systems with virtually unlimited tracks and pretty convincing emulations of \u00a3250,000 mixing consoles built-in. Finally I can say I like the character of a digital mixer &#8211; I prefer the sound and ergonomics of my Cubase 8 mixer to most other consoles I\u2019ve used. For somebody interested in music technology it has been an absolutely astonishing time to be involved and I never get bored of testing out the latest miracle processor. <\/p>\n<p>But by the same token, we\u2019ve discovered that we were possibly a bit hasty throwing out all our \u2018obsolete\u2019 analogue devices in 1987, because some of them actually sounded really good. Fortunately I kept most of mine and now I work with a kind-of hybrid approach, using each strand of technology for what I think it is best at. For me, digital technology has mostly just been a recording and storage medium for the last twenty years, but over time I have gradually allowed it in more and more, for the tasks it does well. So as well as things like Melodyne, \u2018elastic audio\u2019 and zero-overshoot limiters, I\u2019m now finding that I have EQ and compressor plugins which I really like, not just tolerate because they\u2019re convenient. That is starting to happen with synths too, although I\u2019ll almost always go to an analogue synth first because they\u2019re more immediate and they feel more satisfying to play. And I enjoy the romance that surrounds them. <\/p>\n<blockquote><p>How has your production rig\/setup changed over the years?<\/p><\/blockquote>\n<p>It hasn\u2019t very much. Some of my synths I\u2019ve owned for over thirty years and I\u2019ve been using Cubase since 1990. I have some newer pieces and I keep up to date with software developments, but the basic core of my studio remains pretty stable. <\/p>\n<blockquote><p>What\u2019s your favorite synth to spend the most time on? Is there any piece of equipment that you hated for the longest time and now can\u2019t live without?<\/p><\/blockquote>\n<p>My Korg MonoPoly is the nearest thing I have to a workhorse. I go to it first just about every time and it\u2019s rare that it doesn\u2019t deliver. I thought I hated the Arturia MiniBrute I got late last year but I have to admit I was wrong. It has somehow found itself on every track on my new album. It sounds very distinctive. <\/p>\n<blockquote><p>You have a unique solar setup now on a cliff. Can you explain how that came about and what you\u2019ve learned from the experience so far? <\/p><\/blockquote>\n<p>I don\u2019t know if it is unique but it is a great way to get out of my studio chair and into nature, and I enjoy the limitation of not having a whole studio full of equipment to distract me. My studio is a bit of a bunker &#8211; it has no windows and, although it is great for hiding away and getting work done I find that sitting out in the woods or a beach or a deserted clifftop is very inspiring. <\/p>\n<blockquote><p>Theres a lot of literature out about creativity\u2019s connection with nature. Is this something you\u2019ve looked into? Have you been able to notice any shift in perception for yourself with the move? Not just in a musical sense, but in everything else?<\/p><\/blockquote>\n<p>I\u2019m honestly too preoccupied with other things to have any spare capacity left over to ponder stuff like \u201ccreativity\u2019s connection with nature\u201d. During my twenties I spent a LOT of hours, off my nut, pondering the meaning of stuff like that, and the conclusion I reached, shortly before my thirtieth birthday, was that, for all the soul-searching, I\u2019d just ended up with more questions than I started with and no useful answers. So I stopped pondering the imponderable and decided to just allow stuff to <em>be<\/em>, without attempting to attach meaning to everything. That was a huge revelation for me.<\/p>\n<blockquote><p>You shared a sampling of your upcoming album at the last show with The-All Seeing I. How did that go over, and when will the rest of the world get a listen? <\/p><\/blockquote>\n<p>It went very well. We currently have around thirty songs in production and we\u2019re hoping to have them ready for release in early 2016.<\/p>\n<blockquote><p>How has the crowdfunding been going with this upcoming LP?<\/p><\/blockquote>\n<p>Great. I did it as a thirty-day campaign and hit the target in 22 hours. It enabled me to turn down a lot of gigs and concentrate on my album, which is nearly ready. <\/p>\n<blockquote><p>What next do you have on your plate as we make our way into the summer?<\/p><\/blockquote>\n<p>My album is swallowing up every waking hour I have. I\u2019m working on an August release. <\/p>\n<blockquote><p>Thank you for your time, it is very interesting to discover more of your reality. Would like to use this occasion to invite you to visit newly created <a href=\"http:\/\/forum.psybient.org\">forum (forum.psybient.org)<\/a>. Your advice and feedback to young producers will be highly appreciated.<\/p><\/blockquote>\n<p>Thanks!<\/p>\n<p><strong>Links<\/strong><br \/>\n<a href=\"http:\/\/ottsonic.net\">official website<\/a><br \/>\n<a href=\"http:\/\/www.discogs.com\/artist\/27862-Ott\">discography<\/a><br \/>\n<a href=\"https:\/\/ottsonic.bandcamp.com\/\">bandcamp<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.psybient.org\/love\/wp-content\/uploads\/ott-untz.jpg\" alt=\"ott-untz\" width=\"912\" height=\"608\" class=\"alignnone size-full wp-image-5488\" srcset=\"https:\/\/www.psybient.org\/love\/wp-content\/uploads\/ott-untz.jpg 912w, https:\/\/www.psybient.org\/love\/wp-content\/uploads\/ott-untz-627x418.jpg 627w, https:\/\/www.psybient.org\/love\/wp-content\/uploads\/ott-untz-300x200.jpg 300w, https:\/\/www.psybient.org\/love\/wp-content\/uploads\/ott-untz-50x33.jpg 50w\" sizes=\"auto, (max-width: 912px) 100vw, 912px\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>British bred auditory assassin &#8211; named nothing more or less than, Ott. &#8211; needs no introduction for Psybient.org friends. As his musical actions have psychedelic learly spoken for himself (many decibels louder than mere description) over more than a decade now. From \u201cSplitting an Atom\u201d in a studio laboratory, conjuring the unmistakable energy of his [&hellip;]<\/p>\n","protected":false},"author":12,"featured_media":5486,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[455,313],"tags":[],"artist":[192],"class_list":["post-5449","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-interviews","artist-ott","release-date-2015-05","country-uk","et-has-post-format-content","et_post_format-et-post-format-standard"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Interview with Ott -<\/title>\n<meta name=\"description\" content=\"psychill music, psychedelic festivals, psytrance festivals, psybient news and other sub-genres of 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