In regards to electronic music, SXSW 2011 was an embarrassment of riches. And for those of you looking to move, Denver, Colorado’s Travis Edegey, who records as Pictureplane, is the guy you need to see. We had a chance to talk with Egedy about how he gets it done.
Zach Kelly: Since the last couple times I’ve seen you, you seem a lot more polished. As an electronic musician, how do work on that? How do you get better?
Travis Egedy: Working on it. It’s touring, you know.
ZK: So it mostly comes from live stuff?
TE: Yeah. I don’t practice too much, honestly. A lot of my practice is performance, playing in front of people. I’ll work on songs and make sure I know how to do it live and stuff, but me really figuring out the song is playing it live, seeing what works best. Each time is different, I do a lot of improv when I play live.
ZK: Is that how new stuff comes to you? Doing it live?
TE: Not really, that’s a whole different process of me tinkering around in my bedroom, you know, just making songs by myself. But yeah, it’s just touring I guess. Feeling more confident. Confidence is a big part of it. Because it’s just me on stage, it’s sort of like: I own that s—- or I don’t, you know? And if you’re timid on stage or something, the audience feels that and it makes for an awkward experience.
ZK: I’ve noticed that you’re doing more vocal stuff. Have you made a conscious push to do more of that?
TE: On my new album, I’m singing a lot more on it, which is crazy. I always sort of felt that it was sort of a weak point of mine. I’m not a vocalist necessarily, but I think I’m becoming one. Or at least flirting with that. I like singing.
ZK: How do you prep for that?
TE: No prep for that either. I’m not a prep kind of guy [laughs]. I just wing it. I just dive head in, and that’s it.
ZK: You usually perform with projections. How important do you think that is in terms of the music you do?
TE: Well it’s not necessarily projections that I work with, it’s just sort of a visual aspect. I went to school for fine art and I’m a visual artist also. That’s a big part of how I approach music. To me, it’s like a performance art kind of thing that I’m doing. I’m a really visual person too, so if I can incorporate that somehow into a live context, it’s good.
ZK: Do you do any of your own projections?
TE: Not really, no. I prefer to work with someone who does projections. I don’t really do projection stuff necessarily.
ZK: You ever consider doing some of your own?
TE: Of course I need a projector and stuff, I just don’t have one…
ZK: I meant your own visuals.
TE: Yeah! That would be dope. I don’t know how though, that’s the thing. It’s all programs that I don’t know how to use.
ZK: So how’s the next record coming along?
TE: It’s done! It’s going to come out in June. I’m excited, I think it’s the best work I’ve ever done.
ZK: How is different than [Pictureplane’s debut album] Dark Rift?
TE: It’s just more full, more polished. There are some real genuine pop-dance songs. I wanted it to be club ready. Dark Rift, it was getting there. It’s a continuation of what I was doing on Dark Rift. It’s very similar, just better.
ZK: Sort of more pop conscious, I guess. I’ve noticed some ’90s house touchstones you’re working with now.
TE: Totally. I’d say it’s pretty R&B influenced too, a lot of vocal samples all over it. I did a song with Zola Jesus that’s really cool.
Photo via Rcrdlbl