While reading the biography of this musician and producer you could be forgiven for being surprised that his first release is dated 2007. Rafael Anton Irisarri does not hide the fact that he is a ‘late bloomer’ with the release of his debut album, but it would be quite wrong to call him a budding musician.
Comments and reviews of ‘The Sight Below’ include such words like ”Calm and thoughtful with a spectacular sound”. His collaborations with others include Pantha Du Prince, Benoit Pioulard, Fennesz. He has received positive comments from the Pitchfork, XLR8 and FACT amongst others The musician agreed to be interviewed for his Russian fans.
Can you describe a little bit your musical path – from your early steps to our days. How did it all start for you musically?
I taught myself how to play guitar, bass & piano when I was about 13. I’ve been hooked ever since. I’ve been releasing music for a few years now. I’m a late bloomer; my first album (under my birth name) just came out in 2007. With The Sight Below, the process was a bit different – by the time that project found a home (Ghostly), I had plenty of experience working in the music industry, so it was very good timing.
Who influenced you as a young man musically? Who are still in the favorites, who are you listening to now?
I equally like classical and modern classical composers (particularly the minimalist and post-minimalist schools), experimental electronic music, dub, post-punk, techno, indie rock, even some country (Lee Hazzlewood, for instance). I have quite a diverse collection of records - if you swing by my studio and browse thru it, you will find Satie, Mahler, Debussy, Ravel, Wagner, Arvo Pärt, Messiaen, Xenakis, Reich - hell, even some Chopin and Sibelius right next to Scott Walker, My Bloody Valentine, Chapterhouse, Slowdive, Ride, Windy & Carl, Harold Budd, Brian Eno, Panasonic, Uusitalo, The Smiths, Stone Roses, Godspeed You! Black Emperor, Durutti Column, Wire, Augustus Pablo, The Congos - too many things I like to be brief.
While reading some articles about you in internet I found so much characteristics of your sound from so many people. But I would love to hear such a characteristic from you. Are you able to describe your own sound and style? Perhaps some unusual association. Maybe the main emotion which is enclosed in your music… By your own feeling. Tell me.
This is very hard to do. I’m not good with words (probably why I make wordless music). I like to view my music as “hopeful gloom,” like a brooding sound for drowning in lightless water.
I like to view my music as “hopeful gloom,” like a brooding sound for drowning in lightless water.
Where do you find inspiration for your music?
I find this are where I live (Pacific Northwest region of the United States) very inspiring and influential. For instance, this weekend I went to a beautiful area called Tiger Mountain and went to an abandoned coal mine to do some field recordings there. It is amazing how easy is to get out of the city and find yourself in the woods, in place where there’s no mobile phone reception and surrounded by amazing sounds.
What does the name The Sight Below mean? Any special meaning?
It could mean anything, for instance like looking beneath the surface, and you may find beauty and melody—listen a few times and uncover different elements. Kind of like the way an old film works: I enjoy that old-movie quality [of] graininess that forces the listener to focus hard to uncover different details and small sounds that are hidden on first listen, but are there to be found and enjoyed with repeated listening.
But it could also have so many different connotations; for instance, viewing a desolate landscape that is the remains of what could have been, that wasn't, and that may never be. The Portuguese refer to this as saudade, and it serves as the basis for fado.
You’ve performed in many countries all over the world! Was there a big difference between the musical atmosphere and feedback of the public in different countries, cities?
Yes, absolutely. Every country has its own idiosyncrasies. I love to travel and experiencing new cultures/ideas. Meeting new people and visiting new places is one of the best parts of performing music live. Hoping I’ll be able to visit Russia in the not-so-far future – I’ve always been fascinated by Russian cinema and culture and would love to play a show perhaps.
Unfortunately there are a lot of Russian-speaking readers who didn’t see your live performances. But if there is a possibility to imagine it by the words of the musician – what could listener expect while visiting The Sight Below live performance? What is it?
It depends on the venue, the audience. All my live sets are improvised, so no two sound alike. Sometimes I write a lot of unreleased material just for the live performances. Last year, I released a collection of live recordings thru my website store (on Bandcamp). You can hear different approaches and sounds in each performance.
What is the role of collaborations in each musician creative process? How does this work on the creative process? Are there elements of the training, exchange of experience or is it opens the way for unexpected experiments? Tell me about your experience with it.
I’m very much into the unexpected experiments and accidents in the studio – in fact, I view my job to be managing those “accidents” or “experiments.” This is the are where I find myself the most comfortable. The unexpected is very inspiring to me.
For a budding musician participation in various collaborations opens the way for a greater fame, recognition, etc. But don’t you think, that there is a great danger of losing their own sound and style? Is there such a problem? What do you think about it?
It all depends on what you are doing. For example, I like working with similar-minded artists and kindred spirits. Artists I respect a lot and feel their input in the process. That’s the beauty of collaborating really, exchange ideas and communicate, while creating something new and fresh. Having another person to bounce ideas off is a wonderful thing sometimes. Of course, one has to be careful and not get too lost, like you mentioned, lose your identity in the process. It is definitely not for everyone.
The Sight Below and Rafael Anton Irisarri. Why do you release your music under two names? Is it because of different concepts or different labels or something else?
I don’t necessary despise the music industry atm, I just feel more comfortable working around its edges and tentacles. Things like my online store help me bypass a lot of the problems with it.
Yes, I feel the music released as The Sight Below is very different, specially lately, as working with Pantha Du Prince have returned my love for electronic dance music and techno, so the new live sets for the upcoming tour reflect those experiences.
It is interesting to know how you perceived the music business when you first became involved and how your perception of it has changed over time.
Yes, sure. But I don’t necessary think it is because of the music business itself, but more because of my own aging/learning process and how I view life in general.
I don’t necessary despise the music industry atm, I just feel more comfortable working around its edges and tentacles. Things like my online store help me bypass a lot of the problems with it.
Has the reality of the music business lead you to become disillusioned in any way? Or is it everything you hoped it would be?
Funny you ask: I was already disillusioned with life, so I guess once you are down, there’s only one possible direction to go from there. At the moment things ebb and flow, so it’s all a learning process and experience and figuring out how to survive.
If we talk about spreading the music, what is your opinion about the phenomenon of 'pay what you want', which is now gaining popularity? When the musicians spread their releases for free download or the ability to make a donation.
For me it’s been a good experience – look, people are always going to share music online, so if I can have friends and fans support me by buying my music, why not make it available to them? Some people will put a dollar, some a little more. I did a pay as you go for my live album collection on Bandcamp. I remember a listener from England (really lovely lady) sent me about 65 dollars for it. I thought it was an error! I contacted her to make sure it wasn’t actually, and she wrote back and said my music meant that much to her and hence paying that amount for it, cause she knew it would go directly to me. That to me is the sort of thing that keeps me going. It’s all about the special connection I’ve built with my listeners. I’ve met many of them at concerts and I truly enjoy talking to them and spending time getting to know about their lives. I find it very inspiring.
How do you see yourself in the future? Which prospects of your own development are the most interesting for you?
At the moment I’m fairly grounded and do not have very high expectations. I just keep busy working and creating. I look forward to see how things evolve and develop further. I have no desire to be like a famous rockstar or anything along those lines, so I’m very comfortable with myself and where I am.
As for the near future, I have started an online mastering studio here in Seattle – artists send me their music online and I’ll master it for them for an affordable fee. This is something I like doing and feel can help up and coming artists along the way. It’s been going well so far and I look forward to keep developing it and listening to some great music along the way.
What gigs do you like to visit as a listener?
Oh, there are so many great venues here in Seattle! For the most part, I enjoy concerts in old theaters, abandoned churches and such, but I will go to a few small bars or clubs to check out shows too. One of my favorite venues in Seattle is the Chapel Performance Space – it’s an old chapel converted into a venue and it has wonderful sound and the programming is really good.
Do you have any hobbies not related to music?
Yes, I love film and photography, visiting museums, reading about art movements and learning about science and technology, that sort of things. Most significantly, I’m fascinated by languages and history (I’m a bit of a geek when it comes to both).
What could we expect from you in 2011? Any releases, collaborations, projects, etc... And one of the main questions of your fans is about new album of course.
I’m working on a collaborative project with friends from the Pacific Northwest called Orcas. It’s mainly Benoit Pioulard and myself, with a few contributions from Tiny Vipers, Loscil, Goldmund, and others. Hopefully we’ll get it released this year. Aside from that, I’ve been doing a lot of remixes for different artists, including Pantha Du Prince. I’ve also been working on a “band” version of my RAI live set, which includes drums, piano, cello and guitars/laptop + visuals. I’m hoping to be able to tour this version, as I love playing as a group and it sounds really powerful. We are also planning to record, so perhaps my next album on Miasmah includes some of those compositions we’ve made for just the live setting.
What would you advise to budding musicians?
Follow your heart and instincts, meaning do beautiful things for the sake of doing beautiful things. Keep your intentions honest and pure. Don’t let anybody tell you, “oh, you can’t do that” or “well, no that’s not going to work”. Know yourself and your limitations and use those as part of your creative process.
Anna Maslennikova
