SC: Why did you want the ambient random sounds around the recordings, why was anchoring the sound in a certain time important?
JB: "Well my process starts with the collecting and foraging for sounds. These are then manipulated using software called lloopp in max/msp and then from there I begin improvising over the abstracted field recordings. Those are guiding me in a sense. I just got back from Fogo last week where we drove up and down the island multiple times listening to the record and I think it really fits that landscape and all those "ambient random sounds" are from that place whether it's a mic dropped into the bushes along the ocean or a dog barking on a back porch in Joe Batt's Arm. I like to remember the places I go by the sounds I hear. Because all the music I make is initially a selfish act this is my way of triggering those memories for me and taking me back to my amazing time on Fogo Island."
(I paid a visit to Jonas some years back when he was working for composer R. Murray Schafer on an on-site art project)
SC: That was a great day spent with you at Schafer's. Tell me about his book, "The Tuning of the World" and how it has affected your musical journey?
JB: "Well "The Tuning Of The World" really just helped give me an awareness of the importance of the soundscape. It made me open my ears more, got me thinking about the sounds that are around us constantly and how they infest our lives, for good or bad. He also talks about how the soundscape has changed and that's an interesting thing to think about. Would love to spend my life "archiving" the soundscape of Fogo or somewhere like that to see how it changes over the course of 50 years. His book definitely inspired me to listen deeper which has led me to making more field recordings and paying more attention to what is happening around me sonically. This of course is great for me on so many levels. It's meditative. It helps my music. Inspires me. It most definitely grounds me.
"I've recently returned from 10 days in Big Sur, California, where I'm making a similar record to "All This Here" in the sense that we collected field recordings from all over the coast and then improvised over them. I had Schafer's book with me there and it helped guide our thinking while we were working. It's a really nice practice to share the recording process with people and to watch their awareness of the soundscape change. I was working with this amazing violinist Edwin Huizinga in California and he participated in the recordings out in the woods and by the ocean and he became almost childlike in his excitement for hearing this familiar place with a completely different set of ears. I think that most people would benefit from taking mics into the woods and listening closer to what's around us."
Q: So far you are playing the Drake on May 27, any other shows coming up?
JB: "Yes! Ottawa on the 24th of May, Montreal on the 25th and hoping for a show on the 26th too. We've got some other cool things to announce as we get closer to the shows too."