Ecstatic Sunshine

“Outside the record there are many sounds. Some of those sounds were moved, through memory, into the record.We would hear soft bass through the windows of a car, or listen to birds waking up before dawn, and learn to remember those sounds and later draw them out of synthesizers or guitars. In this way we could hear the record before it was made. It is like John Cage’s ideas about incidental sound, except instead of composing with those sounds, we composed for them. The record is an homage to the Everyday. It is music that happens, and is heard, and then said.

Inside the record the sounds build a kind of space. The space is related to where the record was made, physically. Inside the house we could use our sounds as a massive silly putty. Most days we were making a mold of the interior and then stretching it, or mashing it, or just massaging it. Because of this, the record defines different kinds of impossible architectures. The architectures are spatial and are made of vibrations; really they are variations on a studio.

The studio is soft. It is flexible, and alternative. In turn, the songs made in the soft studio have many uses, but also a kind of resilience. Each song is able to snap back to its recognizable shape in space. The songs can be used in many ways, they can entertain, soundtrack, encourage, even facilitate new dreams.”