Among your other extracurriculars, you've also composed music for the Allen Dance Company. The one piece that you posted on your website, "Motor," is strikingly different from both your solo work and your work with Snarky Puppy. Talk about your approach to doing that music. BL:
That [work] definitely speaks to some of my abstract influences. The [dance] piece was based on this book, "Motorman," by David Ohle. Ohle was an intern or something for William S. Burroughs so it's "out." Burroughs' stuff is out, but the Ohle stuff may be even more out. I read the book and I was like, "What the hell?" (laughs)... but I was super into it too. I read it like three times. I watched the dance that they had recordedwhich had no soundtrack then I tried to tell the story through how the book and the dance were speaking to me, the sounds I imagined. I got together with a friend of mine, Ross Pederson
who's a great drummer and engineerand we recorded like a million guitar tracks. We basically put it together mostly through post[-production]. What that music is most related to, by my ears, is David Lynch, who is actually a huge influence on me probably just as much as any kind of music.
There was another piece I did [for the dance company] that was for a live show. I think there is a video of it but I'd have to track it down. That one was much longer forty-five minutesand was, for lack of a better way to describe it, more like a Steve Reich
-type thing but consisting of all electronic percussion instruments. AAJ:
Do you see more of those types of projects in your future? BL:
Not necessarily, but if things like that come up and it's something I want to do, then yeah. Those kinds of things aren't things I put on my radar to do in the future. AAJ:
What are some things you are looking to do? BL:
I'm interested in doing this Bach project. It will probably be more like a web-based series. I'm thinking about recording a bunch of them and then when they're all ready to go, posting one a week. The idea is to do an interesting sound concept for each one of them. I partially got the idea from Wendy Carlos' Switched On Bach
(Columbia Masterworks, 1968). Have you heard that? I thought it was so cool to use modern instrumentation to play that music. The other thing is that the music is just so well written that it really doesn't matter what instrument you play it on, it always sounds good. Those two things made me want to do it. One piece might be two guitars with Fuzz Factory [pedals] and another might be with some kind of delays or something. That kind of thing.
I also would like to make another record with my band, so I'm writing for that nowslowly, but doing it. Hopefully we can record one relatively soon. AAJ:
Well Bob, best of luck with the new projects and thanks for taking the time out to talk. BL:
You bet and thank you.
Photo credit: Stella K.