27 Apr Orcas Band Interview: A Balance Of Majestic Forces
In that spirit of balance, this bilateral feature places side-by-side interview responses and sample tracks from both artists, to dissect the strengths, weaknesses, and sonic tendencies both musicians contribute to making Orcas the rich collaboration that it is.
“Sault” from Lasted
Where Irisarri’s soundscapes lay a gentle foundation for the work of Orcas, Meluch’s work as Benoît Pioulard provides more accessible and structural elements, complete with singer-songwriter pop melodies. “Sault,” from Benoît Pioulard’s album Lasted, has guitar and vocal tendencies that connect to the piano and guitar lines of “Arrow Drawn,” which is streaming below.
Rafael Anton Irisarri
“A Great Northern Sigh” from The North Bend
As The Sight Below, Rafael Anton Irisarri’s compositions rebuild familiar emotions and spaces by way of minimal electronic soundscapes. According to Irisarri, “A Great Northern Sigh” has conceptual and thematic ties to the work of Orcas, as it also relates to the Pacific Northwest. “Almost like an audio postcard,” he adds. “What can I say — I’m deeply inspired by this region and wouldn’t imagine composing our Orcas album anywhere else.”
“Tack & Tower” from Lasted
Rafael Anton Irisarri
“Deception Falls” from The North Bend
Are there any lessons you’ve learned about your own creative process as a musician as a direct result of working collaboratively on Orcas? Are there any that will stay with you in the future?
Creating this record was a very natural process for the two of you. Do you think both of you relate to creation (as a philosophical construct) or the emotional output of music in similar ways? If so, do you think that extends outwards to general life philosophies, as well?
In some ways, Orcas is a very polished and straight-forward record, but there are many layers of grain and nuance to be dissected. How much of the pop structures and additional underlying details were the result of planning versus experimentation?
Orcas – “Until Then” (Broadcast Cover) – DOWNLOAD MP3
Broadcast – “Until Then”
Each track on Orcas leans cohesively towards the light or the dark — but when one dissects the individual components, seemingly contradictory sounds emerge. How much of this record was composed in the editing process through compiling together different combinations of sounds? Were certain textural details interchangeably attempted on different tracks until winning combinations emerged?
Can you describe how some of the more interesting layers of sound were created?
Was the name Orcas chosen before or after the completion of the record? Are there qualities about the orca — as a creature — that you think translates thematically to your sound?
Are there plans for further collaborative efforts as Orcas?