Resonance Interview | Derek Pearson
Derek Pearson (Silence & The Unwinking Minds) in conversation with Ryan Watts (Akira Film Script)
Hey Derek, thanks for taking time out from your editing duties and joining me today to chat all things Silence & The Unwinking Minds!
First and foremost, I have to ask, how did such an unmistakable artist name like this come about? What was the inspiration behind the name?
It’s actually borrowed from a book I read years ago called The Sound and the Fury by William Faulkner.
Funny enough, the title The Sound and the Fury was borrowed by Faulkner from Shakespeare’s tragedy Macbeth. Faulkner is a challenging read but something about the poetry of that line really jumped off the page. One of my favorite quotes from him is “You don’t love because: you love despite; not for the virtues, but despite the faults.” I think there is a great deal of wisdom in that.
Yes, a very, very wise quote indeed, especially for anyone who has truly loved someone or something. Difficult reads are not without their rewards; this nugget of wisdom being a perfect example.
I’ve noticed you’re based out of Nashville, Tennessee, yet you work as an editor in the film industry for your day job; I’ve not often thought of Nashville as a film-centric place - how did you come about film as an industry, and is there a bustling scene in Nashville I’m not aware of?
I wouldn’t consider Nashville an overly film-centric town either, it’s historically much more rooted in the music industry. That said, there is a good bit of activity in many creative fields beyond just music. After an intensive course on film editing in NYC I interned at a local post production house down on music row. Since then I’ve worked primarily as a freelance editor cutting various styles of projects throughout the years. Anything from commercial spots, music videos and short form content to TV Shows, documentaries and some feature length narrative work.
Ah, that’s so cool - I had to assume some level of freelance work was at play! I love that you’ve had your hand in all sorts of visual media fields like that - I think of it like music; the more you’ve experienced, the more tools in your bag-of-tricks, so to speak.
My understanding is your work in film and TV has allowed you to live abroad, and in New Zealand, no less; what brought you to the lower hemisphere of the world, and how did you enjoy it? Any plans to move back in the future?
In 2018 I took a job at a small production company down in Queenstown, New Zealand. We had been visiting that area as a family for several years and the chance to live there was too good to pass up. Our four years there ended up overlapping with the pandemic which certainly added to the adventure of it all. That said, we have many dear friends there and at this point it’s almost like a second home. We try to visit as often as we can and have dreams of ending up back there down the road.
That’s amazing - and yes, if it calls to you, and you can again, I’d say head on back when the time is right.
Focusing in on your music, I understand that Inversion Layer is your oldest release on your Bandcamp page, but the Silence & The Unwinking Minds project predated that 2021 release date; when would you say the project first began, and are there documents of the older recording out there in the wild?
Inversion Layer was actually written and produced during those years in NZ, specifically when we moved from Queenstown to Wanaka after the pandemic hit. The “Inversion Layer” refers to cloud cover that sits over that area during the winter months. In 2019 I released an electronic album on a Norwegian label called “Do You Dream of Noise”, we did a short run of cassettes but not much beyond that. I feel like I was still honing what the sound for this project would be at that point. I’m thankful for that opportunity to experiment and explore but I ultimately didn’t feel like I had articulated the sound I was chasing until I released Inversion Layer on Mystery Circles.
Yes, honing in on your sound generally results in early experiments, which I personally find fascinating (and most artists cringe at, as they see them as simply juvenile, imperfect, or too experimental) - I hope to hear those early recordings one day. I do love that being in NZ was when you were able to settle into your sound too. I have to imagine that was a magical time creatively for you, even though we were all navigating shutdowns and restrictions during the period.
Forgive me for saying this (is it a borderline pun?), but your music always has this cinematic appeal to it. Was film your first love, or was music? How have they influenced each other as you’ve navigated your sonic craft?
That’s a great question. I imagine my response to that has likely evolved over time. I’d have to claim music as my first love but I can’t deny film’s influence on what I create musically. One of my favorite aspects about ambient music is how it intentionally or unintentionally ends up “scoring” the lives of the listener. It leaves room for our own narratives to play out without being overly influenced or encumbered by the lyric of a song. Nothing against that at all, I’m a big fan of a lot of lyrical music as well. Ambient is just where I’ve found my center.
I have to fully agree with all of that - as it is, my artist name is rooted in cinema (obviously), and acts as a soundtrack to the lives of characters from within those films, but also soundtracks to listeners’ daily (real) lives too; however I’m known to put on vocal music around the house and in the car routinely too (and make a sad attempt at singing along as well - haha).
Getting a bit geekier, I understand the backbone of your setup is a Eurorack synth - how long have you been working with a Eurorack, and any highlight units from your setup that you’d like to divulge a bit upon?
I fell down the Eurorack rabbit hole around 2017. I really clicked with composing music in that way and it has really inspired my process. I started with a small set up and have managed to keep it compact. I have a bit of a rule that if something new is being added to the rack then it has to be swapped for something else. That has allowed me to hone what modules I need to sculpt the sound I’m after. I recently swapped the Make Noise Mimeophon for the Strymon Magneto. Both are delays but both function very differently. That’s just one example but that’s the gist of how I’ve stopped myself from spiraling out and buying my own personal space ship of modular gear.
Yeah, modular is a GAS hole for most - I appreciate your restraint and swapping approach - very sound advice for anyone reading this that’s looking to reign it in a bit.
I also understand tape plays a role in your productions as well; are you using cassettes, reel-to-reel, tape-modeling VSTs, or all the above?
I’ve got a Marantz PMD222 tape recorder which is a mono three head recorder. It allows you to monitor what’s being recorded on the tape live and because of that it can almost be used as an effect unit. I often record through a tape loop and use it to impart some tape warmth and character.
That’s so cool! I’m a big fan of tape-based music and processes too. I love that you can effectively use the Marantz’s monitor as an effect unit. Brilliant.
Going back to your compositions themselves, there’s such a wondrous beauty in everything you’ve produced so far that I’ve heard. Do you generally go in with a melody in mind, or is it more of a mood that you’re trying to create when making a new composition?
Thank you, that means a lot. Many of my tracks over the years have begun at a piano, tinkering until I find a progression that inspires me. A lot of my writing ends up being a process of discovery, little decisions along the way subtly dictating the direction of a song. So I don’t usually have a melody in mind but I would say I’m often chasing a mood or feeling with a lot of my work. If I could capture that energy in the air before a storm hits that would be what I’m after 99% of the time.
Very specific - I love that. I’m a big fan of rain and storms (not sure why, but always have been), so I know that energy you speak of - it really makes my day when I can fully experience it. This would make sense as to why your music resonates so deeply with me as a listener; I think you’ve found that magic moment of energy time and again in your compositions.
I’m often chatting with folks about how they came to ambient music, and generally everyone has come from other disciplines or bands and whatnot; what were you up to before ambient music, and how did you come to it?
I played in bands all growing up and into adulthood. My background was primarily as a drummer but I collaborated with my bandmates on many aspects of the music beyond just the rhythm section. Even back then my favorite aspects of the music were often the intros/outros or bridges of a song. Those moments where the music took a breath. So when I came across ambient for the first time it felt like coming home. The goal was all about intentionally creating that space for the song to breathe, it was a whole new world.
It really is a whole new world, no? I used to love the ambient intros and interludes/bridges in 90s electronic tracks, so I feel where you’re coming from, although I can’t say any of the live bands I played in over the years were ever great with intros, outros, or bridges - we were a bit more raucous; so thankfully I absorbed it all as a listener before trying my hand at it.
Bridging music and films, I understand you’ve actually made music for films. Any films out there in the wild we should check out that feature your works on the soundtrack?
I edited a documentary not too long ago called We Should Talk, it’s on the topic of aging and how our culture holds that topic at arms length. In addition to editing the piece I also had the opportunity to use some of my music in the score. It was a cool experience and I was pleased with the result. It played at a festival in LA a while back but I’m not sure where it can be watched presently.
If you’re able to hunt down a copy, or find a stream online please let me know!
A little bird told me recently that you have a bit of a documentary film in the works, and your collaborator on the Antipodes album, Tides, is working on it with you too; can you divulge a bit about the documentary, what it’s like working again with Sam, and when readers can expect to see it, and where?
Yeah, that project came about in a really wild way. It’s a feature-length true crime documentary called A Quiet Town about an unsolved murder in a small Texas town in the 1980’s. I first heard the story at a family dinner a few years back. The more I heard the weirder it got and we ended up making multiple trips down there digging into this 40 year old cold case. It was on one of those long drives through the desert listening to Tides that actually made me reach out to Sam. Something with a western twang is easy to imagine when envisioning a small Texas town, but I didn’t want to go with something too expected musically. Sam’s music is so cinematic, it paired with the setting and subject matter in a truly magical way. It was a beautiful unexpected fit. I consider Sam a dear friend and he is a wildly talented artist, I hope to continue collaborating with him for years to come.
Wild - I didn’t know you were into chasing true crime cold cases like that, and it’s wonderful you’re bucking sonic trends in favor of the more cinematic and atmospheric output Sam creates; he is a force of nature. I too hope you both continue to work together for years to come!
Speaking on you and Sam, my understanding is you both initially met via YouTube comments, or the like, ultimately leading to the Antipodes collaborative album, and I see you’re still quite active on YouTube to this day (making wonderful visuals to your audio, if I do say so myself); do you still find a bustling community exists in that space, and do you still find networking opportunities there? Would you recommend it to up and coming ambient artists looking to get their music out there?
I am very thankful for having crossed paths with Sam on that platform. That may be more of an anomaly though if I’m honest. I think many of the more recent algorithmic treads have impeded real connection on many of those online forums. There will always be corners of the internet to connect with like minded people, but that’s often an ever changing landscape with varying results. We have a local ambient scene over on the east side that has lent itself to connecting with fellow ambient artists and enthusiasts. My favorite hangs with Sam these days usually involve some kind of video chat since he’s over the pond. I don’t think any of us can completely unplug but it’s important to try and find a balance.
Yeah, the ever changing algorithm seems to always be working us into weird corners of social content (that supports ad dollars spent by certain interests), and somehow reduces our abilities to actually be social and connect - ironic, no!? Thankfully people find a way, much like your stated ambient scene on the east side of town.
I see you have a few releases on Mystery Circles, including a personal favorite of mine, Dawn Continuous and its sister remix album; how did you come about the remix album idea, and what was it like working with so much talent like zaké, Tides, Jay, and Bob?
I’m a big fan of what David has cultivated, it’s such a wonderful label and I’m honored to be among all the amazing talent that has put out music on Mystery Circles. I actually had the opportunity to hang with David while I was in Vegas a few years back. He’s a great guy and has been an amazing support over the years. On the remix front, I’ve had the pleasure of working on remixes for other artists over the years and really enjoyed the process of reimagining a song. I couldn’t be happier with the caliber of musicians I was able to collaborate with on that project. Zach is a legend in the ambient scene and runs a label out of Indianapolis called Past Inside the Present. Jay actually lives not too far from me, we met years ago and if I remember correctly he initially introduced me to David at Mystery Circles. He and I went out late last year and did some field recording together. It was a fun exploration in sound. Bob is a fellow Mystery Circles artist and someone I’ve collaborated with in the past and we’ve already discussed Sam and I’s connection. I think all of them did an amazing job reimagining the music from Dawn Continuous and I couldn’t be more pleased with how it all came together.
I too love remixes and reimagining others’ songs, and equally love collaborating with co-label talent and seeing how they, and other creative friends, reimagine my works. I’m so glad David has provided such a wonderful space for your releases and exploring/expanding upon them.
You also have an album on the up and coming SoundGhost label, Emulsion; did you find yourself approaching Emulsion differently than your Mystery Circle’s albums, or was it the same approach in creation, then trying a new label on for size? They’re well-known for their VSTs and soundpacks; did you create something for that arm of their business as of yet (or plan to in the future)?
I really enjoyed collaborating with SoundGhost on that release. Josh is a wonderful guy and talented artist himself. Emulsion was a different approach for me given that many of those compositions were written on an OP-1. I’d never owned one, so when a good friend of mine loaned me one I took that opportunity to create an album with it. I utilized it primarily as a writing tool, often exporting the individual tracks separately and arranging them inside of Ableton Live. Sonically it has a lot in common with other releases I’ve put out but my approach varied slightly given my toolset. I’ve only created one sound pack at this point, utilizing the drum machine from a vintage organ I found at a second hand shop down in New Zealand. I enjoyed the process and would be all about doing more of that down the road.
Vintage organ drum pack? Sign me up! The video above definitely piqued my interest.
Aside from your forthcoming documentary with Tides on soundtrack duties, any new music projects in the works for Silence & The Unwinking Minds? Upcoming releases you can divulge on, or other film-music-based projects in the works from yourself?
I’ve got a collection of songs that I’m working on for an upcoming Silence release, and Sam and I are in the early stages of another collaboration which I’m very excited to dive into. Unfortunately, no release dates on either of those as of now.
No worries, keep me posted when things begin to materialize - I can’t wait to hear both!
As we wind things down here, any live shows or other performances that we should be on the lookout for?
My favorite live gigs of late have been with the east side ambient scene that I mentioned earlier. There are consistently shows on Sundays at a local sake bar and a couple times a month on Wednesday nights at a local Meadery. That said, I don’t have anything currently on the books but will post any upcoming dates when I can.
Sounds good, I’ll be on the lookout for posted dates when things get on the books!
And, one last question before I let you go today, we spoke a moment ago about your true crime documentary; are you planning on submitting it to festivals? Any that are coming up the public can attend, or anywhere online we can stream it during a festival?
Submitting to film festivals is quite a patient process. We luckily made all of the deadlines we were aiming for, now it’s just a long “hurry up and wait” scenario with many of the notification dates as far off as this fall sometime. I wish I could offer more of a clear release date, hopefully I’ll know more soon and will put the word out.
No worries, the festival/art world is always a bit slow I’ve found, so yes, hurry up and wait it is! I’ll be patiently waiting on my end of things to check it out!
Well, I know you’re quite busy, so thank you again for making time to chat with me today and share all things Silence & The Unwinking Minds with everyone reading. Cheers, Derek!
Find Silence & The Unwinking Minds on:
Website / Bandcamp / Instagram / SoundCloud/ Spotify
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