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INTERVIEW: ROSS K & NOE SOLANGE presents TIME



Noé Solange's stunning single 'Nocturnal Lady,' the Dutch-Indonesian producer, multi-instrumentalist and singer has debuted more nuanced work, unveiling her distinct sound as she delves into the realm of downtempo electronica. Drawing influences from her heritage and international upbringing alongside inspirations from nature, she evokes a journey for the listener to immerse in. Pulling from her multiple cultural threads, Noé blends this with melancholic soundscapes, progressive synths and harmonic vocals to create a rich tapestry of sounds.


Alongside is Ross K, a Canadian composer and producer working across indie, classical and electronic genres. Heavily influenced by films and visual art, his music explores the human condition in relation to its surroundings, evoking distinct scenes for the listener to inhabit. Following the release of his ambitious debut LP Braedalyn


in 2020, Ross has been composing for releases on such platforms as Nowness, SuperRare and co-writing with artists across electronic and classical genres.


As ‘Time’ begins with melancholic keys, subtle bell sounds and soft synth patterns, the listener is ushered into a gentle trance. The delicate pads and guitar played by Ross effortlessly shimmer over the track, bringing a sense of warmth within these wintery soundscapes. These naturally interweave with Noé’s textured synths and gentle strings that blissfully drift in, propelling the track forward with a glimmer of optimism.


Throughout, Noé’s serene vocals coax you into a deeper dreamlike state. Her pure words contrast a sense of 'cold in her eyes' with 'warmth in her mind', creating an interplay between longing and tranquility. Ross' vocals then gracefully float in, adding a new element to the harmonic palette, as if to convey a sense of dialogue.


What was the first thing that attracted you to the world of electronic music?


Ross K: I’m a very visual composer and so I think why I gravitate so much to electronic music is in its ability, through timbre, to create unique sound worlds we can visualize & exist in. Then of course electronic music has the ability to move us physically, but also there are some brilliant artists that bring an intellectual approach to it as well (floating points, four tet, squarepusher). So I guess it has it all.


Noé Solange: When I was younger my dad introduced me to the music of many electronic artists I am very much influenced by today, such as Ryuichi Sakamoto, Moby, Bonobo and more. I was intrigued by the unique sounds, atmospheres and textures used by these artists and couldn’t figure out how they were generated. The ability to combine electronic and live instrumentation fascinated me and made me want to delve deeper into the genre.



Do you remember an album or concert that changed everything for you?


Ross: The first album that comes to mind is Jeff Buckley’s ‘Live at Sin E’. It was the most beautiful and original thing I had ever heard. His songwriting (super complex at times) was so fascinating harmonically - it really opened up doors for me and got me deeper into theory. Beyond the intellectual aspect, it was just such a raw, spiritual & ethereal experience. Otherwise, I have to mention Prince. I learnt so much listening to his music, for groove and production. He can have 50 layers at once but everything gels, somehow. I also love his way of fusing disparate elements, in particular in his early 80s work - Controversy, 1999. We both share the same favourite song as well, ‘Cloudbusting’ by Kate Bush - another genius…


Noé Solange: ‘Black Sands’ by Bonobo was the album that inspired me to start learning how to produce. I felt very connected to the downbeat, pensive energy of the tracks, with them opening my eyes to the versatile nature of music. Having been classically trained and then listening to Bonobo’s eclectic selection of sounds and how he created such multi-layered atmospheres with live instrumentation and electronic beats really motivated me to create and experiment.




Since getting into this professionally, what has helped you to keep going and even to believe in yourself?


Noé Solange: For me, music is a way to express, heal and reflect and that is enough motivation for me to keep going. Having others connect with something I’ve created is also so special and such a surreal feeling.




Ross: Music is something I need to do, if I’m not working on music then I don’t feel good - so that's usually the main motivation to keep working. Seeing people’s reactions to my music is probably the most rewarding experience - since I always work by resonating with something and having the hope that others might feel the same.


How is the music scene in your city now after this murky pandemic situation?


Noé Solange: Watching & listening to live music has such an irreplaceable energy and I think everyone is just excited to be able to experience this again!


Ross: Not too bad, I feel we are past the worst of it…


What are your favourite places to hang out in the city?


Ross: In London, I like walking around at blue hour through quiet, dimly lit residential streets, listening to tracks in progress.


Noé Solange: What I like about London is how there are so many different areas with such different energies. I don’t have a few favourite places, as I’m still constantly exploring and finding hidden gems within the city.



Have you had time to focus on making music, spending time with your family and/or planning future projects?


Ross: It’s a constant struggle balancing it all but I feel I’ve gotten better with work / life balance.


Noé Solange: I sometimes struggle to find a balance when working as a photographer whilst also finishing music, maintaining a social life, staying hydrated, exercising and keeping my house plants alive. This year I’m trying to find a healthier balance!



How was your last project born?


Noé Solange: The latest project ‘Time’ came about so spontaneously – Ross and I were both part of a Community Sessions gig, which are monthly events hosted by Kevin (The Sound Sniffer) and a group of musicians including myself, with all proceeds going to charity. We worked on it together in person once before it became a virtual collaboration between myself in London and Ross in Lisbon.


Ross: Out of returning to my homeland of Canada and tapping into my roots.



What do you want to convey in this work? What is the concept behind it?


Noé Solange: The song explores the juxtaposition between introspective stillness and external chaotic change, which we tried to convey through an interplay between the lyrics and instruments used.

We were both very inspired by our surroundings and nature and wanted to sonically create a piece that was raw, intimate and connected to the elements, as we were so closely surrounded by them – the water, wind, air, cold.


As for your studio, what is your setup currently made of?


Ross: Prophet 6 is the new centre piece - otherwise, moog sub 37, elektron analog rytm, acoustic / electric guitar, pedals (Empress is my fav), mics, speakers.


Noé Solange: Nord Electro 4, a few acoustic and electric guitars, microphones, APC40, vocal processors etc..


What was the last record store you visited and what did you get out there?


Ross: A spot in Lisbon, I bought a Chet Baker record for a friend of mine.


Noé Solange: Honest Jon’s in Kings Cross, where I bought Luiz Carlos Vinhas - O Som Psicodélico De L. C. V​. – great music and cool artwork!


Time’ is a flourishing downtempo electronic piece from the two musicians, taking the listener on a journey somewhere between Air, Ryuichi Sakamoto, Laura Misch and The XX.


There is beauty in simplicity, which Ross and Noé deliver in this intimate and reflective body of work, offering a moment away from reality.


SOCIAL MEDIA:

Noé Solange


Ross K


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