With slowly morphing textures calling on an ancient world, Bleak Fiction’s September challenges the listener to forgo to the so-ingrained perception of melody moving a piece forward and instead asks one to let changes of shape inform the structure of the song. With the structure modulating between phases, it is easy to let this album carry you to another place.
Here I talk with Ezequiel about his album.
Merigold Independent: What inspires the music you create?
Ezequiel Lobo: Mainly dreams and wishes, with different moods: loneliness, happiness, despair, meditation. But also nature and places I know. With the purpose of telling diverse moments of life and [having] the capacity to face all daily situations.
MI: Is there a story behind this album?
EL: This album represents the distance between two persons: Those days that they know each other, sharing some words, some smiles (Novel). But after a time, they are distanced.
One fears to tell everything he/she feels (To Hide), and have to choose between overthinking without doing anything to change the life, or to show all the love that one person can give to someone, someday (Dream or Face).
MI: The whole album flows together as if it is one long-form piece, with similar textures showing up in each track. Is this cohesiveness something you were striving for in this album?
EL: My idea was to show different moods in a similar context. This album is not an exception to other releases, but this one resulted [in being] very personal for me. But I have finished works, taking new directions of evolution of sound. The focus on similar textures will not be present in some time, but I feel satisfied with the result of this method.
MI: How did you first get started writing music?
EL: I began in 2011 with Bleak Fiction with Absynth (I still use it) and FL Studio. My first songs are more conventional with the first album “Lucidness” with minimal keyboards and piano (all made in PC) and some demos. Since 2012 my albums are shared in M.I.S.T. Records, a chilean label.
MI: What is your musical process (writing, recording) like?
EL: I have a huge list of tracklists of “future albums” and I give them a different sense (name titles are very important). And it helps me to have new ideas constantly. All stuff is recorded in my home. I don’t have money to have a studio recording, but honestly I’m happy to make music here.
Generally I [start with] Absynth (I recommend it) and then Cubase (especially for EQ and pitch) and now more frequently Ableton Live.
Although I have very few resources, it’s interesting in the big range of possibilities with limited audios or software.
MI: Is Buenos Aires an encouraging place when it comes to ambient/drone music?
EL: In terms of listeners, the attention to this music rises very slowly. But underground music is having more listeners like vaporwave or drag music, and this style usually takes ambient, drone or noise music.
But at the same time is very good to be one of the few ambient/drone projects in the country, [you get] to know to more people.
MI: Are there any artists albums you enjoy that you’d like to recommend?
EL: “Goodbye” of Astral & Shit (ambient, sound-art, drone).
“The Essential” of Proyecto Lazarus (ambient, field recordings, experimental)
“Connection Pulse” of Creation VI (ritual ambient, field recordings, psychedelic)