What it means to me
“Experimental music” is a somewhat nebulous term, but I think of it as a descriptor for musical exploration in whatever genre, or combination of genres, one happens to do so. To me, it is the liberty to invent new ways of expressing a theme in a composition. Whether I use elements from classical music, drone or vocals, my primary goal is to put them at the service of a concept. Of course, every composition in any genre is an experiment of some sort, but there are times when the outcome is not readily classifiable.
My journey into the genre
Some of my earliest musical ideas were rudimentary experiments, before I knew what “experimental music” was. I would write minimal pieces for the piano and combine them with poetry and field recording—in essence, the raw beginnings of what I am doing now. Before the advent of the Internet, it never occurred to me that others may be doing the same. It was decades before I would return to this approach—having long explored acoustic music—this time, aided by the digital democratisation of music production.
My interest in experimental music was revived with the discovery of post-rock and the genres with which it was often confused—like shoegaze, dream pop, ambient and electronic music. By the time I heard “Container Ships” by Loscil from Sketches from New Brighton four years after its release, I was ready to compose experimental music again. That album was the catalyst for my first release, Airship, a work that laid the foundation for what Forgotten Fields ultimately became: the consolidation of my artistic ideas.