12 questions for TL3SS
TL3SS makes powerful musical statements, that much is certain. But there is an aura of mystery surrounding the power noise artist who merges realtime experimentations with a level of control and intent that seem to defy the spontaneous logic of his process, always striving to break new grounds by incorporating unexpected elements in his music.
What comes from it is a sound that is both raw and strangely refined, where distortion and saturation seem to be more a source than an add on. Proof can be found in his latest release ‘Murkwhip’ which surprised with a direction that aimed straight into dark industrial techno territory. We asked him our famous 12 questions.
1. What drives you to create music? What do you seek to achieve with it?
I admit, I’m not really sure. I seem to have some sort of internal actuation to do it. Earlier in my life, I really enjoyed learning and playing music, and at some point lost sight of that and became jaded and burned out for a variety of reasons. I took a ten year break, and during that time I felt like something was missing from my life. I eventually became interested in making music again, and once I started it became clear to me that is what I had felt was missing for so long. The break helped me refocus on that joy and satisfaction of creating what I want to hear. So for now, I create music that I enjoy listening to, and it seems that has resonated with people.
2. How would you describe your music to someone who’s never heard music before?
This is a tough question, and I’m still trying to figure it out - and I think that I make a wide enough variety of music that it’s hard to encompass them all. There are some prevailing themes that run through my music, but those can manifest in a variety of ways.
3. Which album do you wish you had made?
Another difficult question! I’m not sure I’d want to make someone else’s album, and there are so many albums that have inspired me over the years spanning a wide range of genres. I would be remiss to not mention a few at least - Black Celebration by Depeche Mode, NIN - The Downward Spiral, Gridlock - The Synthetic Form, Numb - Language of Silence.
4. If music is a form of therapy, what is it healing in you?
So much! Boredom, depression, loneliness, worthlessness. Sometimes, I don’t even know what’s broken or wounded until I record something. I have a lot of internal barriers and walls that prevent me from understanding why something might be wrong. Frequently, I’ll record something, and upon re-listening it helps me understand and realize what was making me feel unwell. In a way, it’s kind of like reinterpreting a dream.
5. If you could use one image to represent the intention of your work and burn it into your audience’s heads, what would this image be?
Not sure about this one, but I’ve always really connected with the work of Zdzisław Beksiński.
6. What do you consider your best piece of work yet? And why?
I was really happy with the way my track “Color Atura” Gridworks 1 Tensions // Release compilation came out. I’m branching out and trying to integrate other tools and instruments into my work (aside from modular synths), and this was one of the first tracks that I think I was able to finally realize that.
7. What is your sentiment about the current music scene, and how is it helping with the state of the world?
There’s so much noise out there. This is both good and bad. I’ve heard so much great music in the past few years, and it just makes me realize I’m probably missing hundreds of great artists and songs that I’ll never even know about. I’m not sure if music is helping or hurting the current state of the world. I think there are positive and negative impacts, and I hope it at least balances out.
8. How would you describe ERRORGRID in your own words? What is it to you?
Constructive interference. I think it’s a collection of artists that are all on the same wavelength building each other up and amplifying each other.
9. When do you consider a piece of music finished and ready for others to hear?
This may sound counterintuitive, but there is usually a point when I am making something where I am absolutely enamored with it, and I decide it’s time to actually sit down and finalize the structure. While I’m doing this, I usually begin hating, disliking or just feeling unhappy with it in general. This is probably the most difficult part of working on music for me. I have to push myself to actually record it and make final edits while actively disliking what I’m hearing. Once I’m done with this and actually export it and listen a few times I’m able to recapture that initial feeling I had before beginning the actual recording process.
10. How much importance do you put into your tools?
I think tools are extremely important and dictate your creative output in a variety of ways. I’ve long heard or read the line of thinking that “if you’re a good enough artist, you’ll make a good album regardless of whether you’re in a million dollar studio or just an acoustic guitar and a tape recorder”, and I really dislike this sentiment. Does anybody really think that The Beatles would’ve made the same albums if they were just 4 guys with kazoos? Give me a break. The instrument or equipment you interact with is a two way street - you are framed by the instrument and it is framed by you.
11. What is the one piece of equipment you will never part with?
I’m not sure there is one - there is equipment that I’ve had and use regularly for years now, but honestly, everything is constantly in flux, and there’s no telling when I’ll feel like I’m “done” with something and move on. A big part of it is just limited resources - for me to try something new, I have to let something else go.
12. What do you have in the works/ what is next for you?
I’d like to finish the trilogy of EP’s that I started with EP I and EP II. I also have another EP or LP in the works, as well as some singles that I’d like to push when the time is right. In the words of Frank Reynolds: “Well, I don’t know how many years on this Earth I got left. I’m going to get real weird with it.”
‘Murkwhip’ is now out on Bandcamp.