This chapter shows our arrival, as feeling entities embedded in an otherwise inanimate world.
Writing the music created a melting pot of feelings for me, it carries a lot of hope and happiness, but also sadness and reflection, without there being any conflict. It’s a simple example, for me, of how language is a poor tool when it comes to describing an internal state succinctly and accurately, where music can do so, far more effectively and directly.
I named the track spectrum in reference to the language-based mood spectrum which places words along a positive to negative scale which we need to try and work with when describing emotive states. But where the reality of emotive states is more of a speckled sampling of this spectrum much of the time.
I worked with the artist Christian Stangl on a visual analogy of this idea, where he employed rocks with partial crystal structures, water and lighting effects to explore the natural creation of colour spectra from split white light, and its interaction with structures reminiscent of human form.
For the Atmos mix I worked with Will Cohen and Niels Orens on a structure containing multiple perspectives via stereo elements on different alignments. If you’re listening with Atmos headphones with head tracking and you turn your head, elements that sounded central and mono will expand into stereo with new information, while other elements will collapse, so that the listening experience is dependent on the direction in which you face and the music becomes interactive.