Pigeon Opinion Featuring an Interview with OTHEOSE

Based out of Toronto Canada, OTHEOSE – aka producer, composer, multi-instrumentalist, and singer Kevin Krouglow – blends moody electronic music and dance elements with world influences, live instruments and sound design.

Interview with OTHEOSE

(^)> “Kevin, you've been making music for decades, both in film, television, and game scoring, as well as your own projects. How has all of this experience affected your sound as OTHEOSE?”

It allowed me to explore many genres, techniques and styles, as well as learn how torecord, mix and master properly myself. I had a lot of practice doing it professionally forquite some time, so with this project I didn’t really feel limited in my creativity the sameway that I did when I was younger or just starting out. I rememberlong agowhen I firststarted trying to produce my own stuff I often felt like I couldn’t get things to reallysound the way that I wanted to or imagined–both with thearrangements/instrumentation and the mixing/mastering. With this project, I didn’t feellimited by that, so it was really liberating. I could create what I genuinely felt and wasinspired by, and just go with the flow. It definitely led to some experimentationandcreativity. I think my sound blends genres and uses a mix of many different instrumentsand sounds because of my broad taste and experience as well. There’s a cinematicquality to it, which is in part because I’ve always loved cinematic music, but alsodefinitely becauseof my experience working asa media composer

(^)> “You're classically trained, and you've also been in many rock bands throughout your life. How does all of this come together in your music?”

Kind of a similar answer as to your previous question: I think it allows me to blend thestyles which show up in my music. There’s definitely elements of rock, more so in somesongs than others, both stylistically and moreexplicitlywith electric guitars and drums.And though I’d say there isn’t really a direct classical influence,my knowledge ofit likelyshows up in my arrangements, including the string sections that I have in a few of thesongs. Knowing music theory isdefinitelyone of those things that helps expand yourconfidence with arrangement and composition, so it allows more creative freedom andexploration.Also unlike the world of bands and rock music where you’d have say 2guitarists, a bassist, drummer, and singer, I’m writing more like a composer where youcan have a whole orchestra as well as other solo players, combined with a band and awhole synthesized electronic section etc

(^)> “The music you make is so evocative, with a combination of electronic and live sounds, as well as your use of world music influences. Can you talk to us about how you create this sense of cinema and immersion?”

Thank you!! Honestly, it’s not like I set outwith a plan to create a sense of cinema andimmersion, I think it’s just something that arises probably because of what I’m drawn toand what naturally comes out of me. I did however make a deliberate choice to blendorganic and electronic elements, because that’s a sound I’ve really been drawn to andfelt inspired by. I love playing and exploring real instruments, but also dig theexperimentation and edgy modern sound of the electronic world and synths. And interms of the cinematic sound, it may also bebecause I really love lush textures, and adda lot of little parts and layers throughout.

(^)> “You're a multi-instrumentalist, playing everything from piano and guitars to sitar and cello, and so on. Do you find it difficult to balance all of this, or is it all very natural for you?”

It’s not something I feel like I have to balance. I just absolutely love learning newinstruments and I get bored easily with the ones I know. Playing a new instrument isalways really inspiring for me and leads to a lot of new ideas. My ears are surprised bywhat I hear and my hands don’t really know what they’re doing yet, so it helps break meout of any habits and boxes I might have fallen into. Also, I think it’simportant to add that I don’t really actively practice most of my instruments these days haha. I dopractice my vocals, and I’m currently practicing my songs to prepare to perform them,but my two main instruments, guitar and piano kinda stay at a more than adequate levelwithout needing to practice them. With the other instruments I play, I play them moreso at a “good enough to record and fix in the edit” kind of level, rather than a liveperformance level. If I ever want or need to perform any ofthose,I’ll just practicereallyhard for some timeto prepare. Also, once you know a few instruments, learning newones gets easier. Like guitar is very similar to bass, and pretty similar to banjo, mandolin,ukulele, etc, and even sitar isn’t really TOO far off. If you can play piano you canprobably play some organ, some marimba, etc. Eventhekeyed sideon an accordion. You kinda already know like 50-70% of it

(^)> “What kind of music or influences have been the greatest inspiration for you, and how do you make sure your own voice comes through?”

Tricky question! Haha. I mean everything I listened to and liked growing up hasinfluenced me in some way. I grew up listening to a lot of post hardcore, post rock, postpunk, etcthen folk, singer songwriter-y stuff.Also film scores. But more recently aroundthe time of writing this album I was really inspired by Bonobo, ODESZA, Tycho, Para forCuva, Emancipator, SOHN, Banks, and a lot more that I’mdefinitely forgetting. In termsof making sure my voice comes through, I think it’s more so about not deliberatelytrying to copy anyone and just creating what you feel and are inspired by. Even whenI’ve tried to write something based off of another track as inspiration for a startingpoint, it ended up sounding nothing like it by the end. I thinkas long as you’re the onecreating the track and using your skills, habits and your own ear and tastes, your voicewill inevitably come through. It’s only if you’re constantly trying to copy someone else atevery step of the process (which BTW is a fine way to learn, no judgement) or I guess these days if you’re using A.I. eye roll that you have to worry about not sounding like yourself.

(^)> “You’ve worked in film, television, video games, and advertising. Does working in different mediums affect your approach to your own music?”

Hmm, I’m really having to think about this one. I’m not sure. I think it does but it may bemore on a subconscious level? Probably just more so the experiences I’ve gained? It’s because when I write, especially the way I was working on this project, I would just writewhat I feel and what I’m inspired by. When working in those other mediums like filmand tv you’re usually writing to some kind of brief, direction, and often to a visual. Withmy own project I didn’t have any of that,which was actually what I loved and needed atthe time. It allowed me to really create from a place of raw inspiration and creativity, without any kind of end goal or deadline, which is something I was missing whileworking as a composer in the industry for so long

(^)> “When you start working on a new piece of music, do you start with a certain mood, instrument, or idea in mind?”

I think most of the time I start by playing around with an instrument or sound.Sometimes piano, sometimes guitar, sometimes a synth or a virtual instrument–couldliterally be anything I feel like fiddling with.Especially with this project. Maybe againbecause that’s what I needed as a contrast to writing for film and tv. With film and tvyou constantly need to think about the mood and the idea. With this, I just wanted towrite whatever I felt musically connected to. Very non-mental. Just freely playingaround and then getting inspired and seeing where that takes me. The mood wouldoften naturally emerge based on what I was drawn to. It wasn’t ever about an end goalwith this project during the writing process

(^)> “Your music is described as something that people really get lost in. What’s the moment that you hope people get to in your music?”

Honestly, I don’t really hope for anything other than some people get to enjoy the musicor have it positively impact them in some way. I can’t predict how anyone willexperience it, and even my own experience of it is constantly changing. I’m just happy tohave it out there and lettingit have a life of its own so to speak. I think the description“something that people really get lost in” came more from the experience I get from themusic–it feels very enveloping and hypnoticto mesometimes, especially with the lushsoundscapes. So I imagine other people that have similar tastes to me might experiencesomething similar from it

(^)> “If someone were to come into your studio one day, what would be the instrument that they would least expect to find you working with?”

Least? Hmmm... haha. Let’s see... something like a kazoo came to mind haha. Maybe likea Trombone or Trumpet. I do have a Trumpet but I’m rather bad at it, so it’s least likelyI’d be playing that one. But really, I think nothing would really surprise anyone thatknows me and my working process. There are few things I haven’t used to make noise!

(^)> “You’ve been making music for quite some time now. Is there something that you would tell your younger self if you were getting into the business for the first time?”

I want to say, just keep at it, it takes way longer to get there thanyou think... it’s lessabout luckor big breakthroughsand more about consistency and hard work... but I alsothink thathearing thatmay feel discouraging so I don’t know if I’d really want to tellmyself that. Perhaps something that would’ve been useful tolearn earlier is that youcan’t avoid hard work and discomfort in anything, so better learn to work with it andembrace it. It’s about finding the thing that you still love in spite of the hard work anddiscomfort, or even because of it if you are so luckyto find something like that.Andalong the same line,the fact thatinspiration more often comes after action rather thanbefore. Waiting for inspiration and assuming you shouldn’t work on something if you’renot inspired or that it’s not good because you’re currently not enjoying it are all veryharmful perspectives to getting anything done. Inspiration as well as your enjoyment ofyour work will always ebb and flow, you have to trust that inspiration will come, and ifyou likedyour workat some point, that you’ll like it again, and that someone else mightlike it too. Don’t be too swayed by the fleeting day to day and moment to moment feelings.

(•)> That's all, Folks! Check out OTHEOSE on the Pigeon Opinion Playlist