How does one even begin to describe the indescribable sound and vision that is Requiem?

If you were fortunate enough to catch one of the two in-person performances at Rhizome in the fall of 2021, you know why I’m asking this question. On the one hand, I could tell you that DC musicians Tristan Welch (guitar, electronics) and Doug Kallmeyer (bass, electronics, production) anchor Requiem’s sound in gorgeous ambient textures and drones — drifting in and out of sonic boundaries seamlessly, veering from moments of sustained dread to awe-inspiring beauty. But that’s just part of what’s going on here.

As you can see from the above screen grab (taken from Requiem’s 11-09-21 performance at Rhizome), visual artist Monica Stroik draws a connection between the group’s sound and the boundlessness of natural phenomena — from deep sea images of colorful fishes and floating jelly fish to sweeping vistas of clouds in motion at sunset. At certain moments, the images move in a 360 degree, circular fashion. It’s almost as if Requiem wants us all to play God for a while.

To put it simply: Requiem’s art is only PARTLY about music. It’s about a total immersive experience — one that invites us to engage with the natural phenomena the project is celebrating.

The considerable talents of Welsh and Kallmeyer are tailor-made for this project — the former known for his acclaimed DIY ambient/drone releases and relentless DIY work ethic, and the latter for his extensive experience (and impressive CV) as an audio engineer and frequent music collaborator, not to mention his connections as a label head for Versus Records.

Outside of local shows, Requiem exists as a truly international project, with connections around the globe, mostly notably in the U.K., with cellist Simon McCorry. The trio of Welsh, Kallmeyer and McCorry have made two albums together and recently recorded a third.

While we wait for the next album to be released later in 2022, Welsh and Kallmeyer are continuing to play local shows, accompanied by the stunning visual art of Stroik. Lucky for us, Requiem is playing the Jan. 7th Livestream edition of We Fought the Big One. I got in touch with Tristan and Doug to learn more about this intriguing project of theirs…

1) Doug and Tristan – how did your involvement with the Requiem project come about? I know that outside of performing live in the local DC area, the project also includes the U.K.-based cellist Simon McCorry and other collaborators. What has it been like to work with Simon as well as each other?

Tristan: Doug and I have been working together for a little bit. Just musical friends really – we were doing our own thing but hanging out and making music together… which truthfully is not something I’m ever much interested in doing so obviously our chemistry was good. We have always been talking about how to release and present music – what’s important to us and what’s not. One night we were recording some of our sessions and kind of got into the idea of immediacy or maybe “honest music” is the better term. Just releasing music we had made without much editing, revamping or thinking. We put out a bunch of singles and to our surprise people seemed to like it. Simon is someone Doug had connected with through Verses Records and I’m thrilled he thought what we were doing was cool and agreed to record with us. The process with Simon is similar to what we’re doing (Doug and I) – focused on immediacy and feeling – we just happen to be doing it from across the ocean and we’ve ended up with two albums of material together.

Doug: Tristan and I met through the local DC arts community. We have shared shows, and worked on each other’s music and in various projects together over the past 4 years. We both wanted to do a project that would just be honest, spontaneous experiences and not get caught up in production aspects, the weight of making “product”. This approach makes a broader collaboration process simple. We send out a track, we get a track in response, and we do as little as possible to make it all work. This has allowed us to have two releases so far with Simon, who is based in the UK. I met him through running the Verses Records label, which Tristan has also released work on, so we reached out and began trading tracks. We all share full confidence in each others’ abilities. All the released music is one take per musician, a quick balance, and it’s finished. We are happy with the amount of acceptable material that has resulted. The upcoming release for Rusted Tone Recordings will be a bit more involved. We will be joined by Simon again, as well as Meg Mulhearn (Asheville, NC.) on violin and electronics, and Dmala Bozkurt (Istanbul, Turkey) on violin.

2) I find that I am filled with many different emotions and feelings when I listen to Requiem’s music. There’s an unmistakable melancholy, but also feelings of dread and even anger (especially the track “Public; Domain” from Joy; Division). At the same time, I find Requiem’s music to be strangely uplifting and beautiful. Is there a particular emotion or feeling you are aiming for? 

Doug: It would seem by your reaction, the approach has imparted an honesty to the music that we were hoping for. The goal is to capture a full performance for each piece, so there is an underlying string of emotion from each player that is not broken.

Tristan: I think Doug and I have similar states of being. I think we are both discontent with the world around us but we are both naturally “happy” people. I think that could explain how the sounds can be grim, dark or brooding – but still have beauty, light and uplifting traits. I think it’s a tug of war between letting the world tear us apart but still trying to exist peacefully. We’re using music to express ourselves – it’s a conversation with sound. The world sucks and it’s full of pain but these sounds make it all feel a little better. We don’t ever really talk about how a piece should sound when it comes to an emotion – we might talk about things in a very musical sense – but never in an emotional sense. I think the music is a true representation of humans being pulled into directions they never intended to be pulled in.

(Photo of Monica Stroik by Cameron Whitman)

3) Anyone who witnessed one of the Requiem live shows at Rhizome in DC this past fall would attest that visuals play a huge part in the Requiem live experience. How did you end up collaborating with Monica Stroik? What can you tell us about her incredible contributions to the project?

Tristran: I think Doug’s portion of this will be much better than mine – but I want to say when it comes to collaborating with Doug and Monica I truly just feel like I’m along for the ride. They have been doing projects under various names for a long time – honestly I’m just a fan. Currently they have something in the works called Oms. I want nothing more than for everyone to experience it. I don’t understand the technical side of the visuals really… but I know we’ll all sit around and talk about titles and themes – Monica will offer her input in the themes and general ideas – then kind of take it from there. We’re still working on various ways to completely make the audio/visual collaboration much more than a “show” and a total immersive experience. One thing we all like are big, expansive and overwhelming works of art. Monica creates giant paintings and does large scale projections, Doug and I love large expansive sounds.

Doug: Monica is also part of the Verses Records crew, is a visual artist and has been involved in video arts for over a decade. She has worked with many bands and galleries, doing installs and live performance pieces. She received an MFA from MICA in 2013, a large portion of the thesis being video mapping and animation.

(Photo of Doug Kallmeyer by Cameron Whitman)

4) I understand that the Requiem project is currently recording with Simon McCorry, Meg Mulhearn (violin, electronics, modular synthesis, Asheville NC), and Damla Bozkurt (violin, Istanbul Turkey) for a 2022 release. How are the recordings going so far? What can you tell us about this new release?

Doug: The recording process is completed for this release. The more people involved remotely, the longer things can take (especially when the involved musicians are as prolific as the three mentioned!). One interesting aspect of this process is the order of who got what tracks, and when. Whenever anyone did something, it would be added to the initial take and sent out. So, there was no particular order, and the collaborators involved would often track simultaneously without being aware of each other’s contribution. This has resulted in some incredibly interesting moments, and some challenging. Unlike previous works, this is taking one extra step as there has to be some decisions made on what to use. There is also a very interesting thing happening with tonality and structure- for example, Damla doesn’t hear music in the given “western European” format, as her cultural background is completely different. So note choices are different, phrasing is different. Sometimes though, it’s as if there was a score written, the way the strings end up blending. We are very excited to share this, via Rusted Tone Recordings (UK) this year. There is more extreme dynamics and structure (by happenstance). It is nearly completed, sonically. Once done, we will give it to Monica for possible visual interpretations. 

Tristan: The new release is coming along. It’s going to be a bit different than the others. A little more “produced”. As many know – or if they don’t they should – Doug has had a long and successful career in sound. On this record there’s going to be a bit more using the sound board as an instrument. Which will be really cool with extra collaborators. We’re very excited to have a record with a diverse and dynamic group of collaborators. We’re mixing the record right now – but once again in my mind that’s still writing the record in a sense. I’m excited for it though.

(Photo of Tristan Welch by Cameron Whitman)

5) As we do this interview, it’s January 2022 and the world has been brought to its knees by yet another COVID-19 variant and we are about to mark the one-year anniversary of the insurrection at the Capitol. It’s a dark time in many ways. What – if anything – gives you hope for the future?

Doug: These last few years have offered all of us one thing we were in scarce supply of- time to think. People are tired of being tied to the wheel, and we see it and hear it in all the necessary movements and reactions, the massive changes and expanded awareness we have seen in a short time. While the systems we are used to will resist these changes, they will have to accept them or fail. This gives hope.

Tristan: I’m writing this on January 6th, 2022. I honestly think I’m exactly where the government wants me. I’m hardly holding my head above water and have a hard time even understanding what the fuck is happening. I’m holding on for dear life to prop up shit that I wish would fall apart. I’m suffocating to maintain some sense of comfort. I know I have it much better than others and I’m grateful for that. My hope is that maybe, just maybe, music and art can be a uniting force for everyone that suffers in different ways and bring us together.

Listen to and purchase Requiem’s music on Bandcamp. Be sure to visit Doug Kallmeyer’s website and Requiem’s page and Monica Stroik’s page on the Versus Records website. And be sure to check out Requiem’s online show at the Friday, January 7th Livestream edition of WE FOUGHT THE BIG ONE via Zoom. Register for the Zoom link at: bit.ly/WFTBO_REQUIEM. The show kicks off at 10pm EST.

Whenever I attempt to describe DC’s talented trio The Caribbean to a new listener, I always struggle to find the right words. Are they post-psychedelic pop? Experimental indie? Weird folk? Off-kilter lounge?

(Photo by Dakota Fine)

The Caribbean (Michael Kentoff, Matthew Byars and Dave Jones) might be the ultimate example of a band that defies easy categorization – and that’s a good thing.

I prefer to simply think of The Caribbean as “a music lover’s band.” The Caribbean’s unique blend of easy melodies, unexpected stylistic detours, odd chord progressions and unusual rhythmic patterns are a delight to listen to, even as the relaxed vibes come with a dose of the unsettling.

It’s been a while since The Caribbean graced listeners with a new full-length (2014’s “Moon Sickness” is the band’s most recent album), but rest assured, the band is very much alive and well and working on some cracking new tunes. The good news is listeners don’t need to wait until the next album is released to hear them — The Caribbean are showcasing them in their live sets.

This is especially exciting news with The Caribbean back at WE FOUGHT THE BIG ONE for a special in-person show at the Marx Cafe (3203 Mt. Pleasant St NW) on Friday, Nov. 5th. I took the opportunity to get in touch with vocalist/guitarist/songwriter Michael Kentoff and ask a few questions about his journey as a DC-based music maker, what it’s like making music in The Caribbean vs his solo work, and what drives him to be a music “lifer.” Read on!

1) Can you tell us a little about your journey as a DC-based music maker? When did you first realize that you wanted to write your own songs?

MK: Not being very good at playing other people’s songs was one motivating factor, but it feels like I’ve always written. Once upon a time, I was going to be a great novelist. Or short story writer. John Cheever. Raymond Carver. But I never liked what I wrote (everything read like John Cheever and Raymond Carver) and once I was finished, then what? Then I was reading an article in Musician Magazine about Suzanne Vega many moons ago and she said something like “the great thing about writing a song is when you’re finished you can play it!” Love that. I always came up with a melody here and there, but it wasn’t until after college that I really focused on songwriting. Suzanne Vega helped.

2) Pitchfork once wrote about The Caribbean: “they have a strange way of constructing songs, from the lyrics on down. Verses have no rhyme scheme, chord progressions seem drawn from a hat. It’s as though the band had all the pieces for comfortable indie pop in its possession but no interest in putting them into a standard order.” What is it that compels you to make songs that sound so wonderfully skewed?

MK: Thanks for the wonderfully. Writing skewed songs is never really the goal – I try to write tight little pop songs that Dionne Warwick might sing, but it never turns out that way. Part of that is because once Dave and Matt get involved, things sometimes tend to get weirder. Also, because I write for an audience of two abnormal people, it never occurs to me what might work for the rest of the world. Whenever I try to guess, the result is . . . less than satisfactory. Also: I’m very ADHD and the group sort of is, too. We’re highly motivated to not ever repeating ourselves, so we’re always pushing outward. And I know that’s my commission as a songwriter. Like I could help it anyway. Ultimately, The Caribbean’s feeling has always been if this already exists in some form, we don’t need to do it. Like KISS, we’re the group we always wanted to see and hear.

3) It’s been a while since The Caribbean put out a full album (2014’s “Moon Sickness”). What can you tell us about the new music that you’ve been recording? Is a new album in the cards?

MK: It HAS been a pretty long time. Whattaya know? Part of that is down to the fact that our label, Hometapes, shut down operations a couple of years ago. But the bigger reason is that, consistent with what I said earlier, the challenge gets steeper and steeper. The standards get higher. By definition, if you avoid repeating yourself, the world of possibilities shrinks little by little. It can be a maddening path to follow, but it’s the only one we want to follow. It’s not fun any other way. Being in a band is not the be-all end-all; creating something new and reaching new people is the prize. It always has been.

We’ve also been working on both new songs and new schematics for what we do live. We have our basic live set up, which is, two guitars, synths, and drums. And another formulation which is guitar and synths. We’re bringing the latter to WFTBO. We decided that it was silly and rather counterproductive to try to squeeze ourselves into a small space when we don’t have to. We have a bunch of different ways of approaching our songs and this gave us an opportunity to explore that. The experiment actually started when the pandemic hit and we didn’t feel like lugging the drums out onto the front lawn. And it was a groovy alternative to how we usually arranged stuff. We like both ways. It’s cool to have two different alignments. And like I was saying, it’s a better use of space. We have a tall drummer and after he sets up, sometimes Dave and I are setting up on the sidewalk.

We did finish a new record (Don’t Go is the working title), but I have no clear idea of when it’s coming out. We need to either find a new label or put it out ourselves. We play a lot of it out live and it sorta smokes.

4) You put out a digital release under the moniker Washington Hebrew in 2017 that showcased your love of samples, loops and remixes. What’s your take on making music as a solo artist versus playing with a full band?

MK: Not as different as you might think. Just a different way of writing and approaching songs. Instead of guitar or piano, everything was written from samples. Instead of just sampling, though, I wrote entirely new pop songs with those samples as a foundation. It was fascinating and cool. I started the project as a treatment for the postpartum depression I felt after Moon Sickness (I always go through that when a new Caribbean record comes out). Like I said, I don’t need to be in a band so much as we hang out anyway, so we might as well make art! Ultimately, I really like playing and working with people I like and who have ideas that are exciting. So, because there’s no one more likable and exciting than me, I enjoyed making the Washington Hebrew record

5) You’ve been making music for a long time. I believe we can safely refer to you as a “lifer.” What keeps you going? Is there a particular source of inspiration that fans the flames of your creativity?

MK: I have no fucking idea. It’s central to my existence. How’s that? I feel like The Caribbean fills an empty space crying out to be filled with something beautiful. Everything fans the flames, Rick. Matt and I have an old saying: Everything’s R&D.

Listen to and purchase The Caribbean’s music on Bandcamp. And be sure to check out The Caribbean’s live show at the Friday, Nov. 5 edition of WE FOUGHT THE BIG ONE in-person (3203 Mt. Pleasant St NW DC 20010) OR online via Zoom. Register for the Zoom link at: bit.ly/WFTBO_CARIBBEAN. The show kicks off at 10pm EST.

I’ve never spoken with sonic dadaist Chester Hawkins about aliens, but I have a hunch he’s a believer.

In fact, I’m convinced the ominous sci-fi drones of “K516156​/​91044,” the 7 inch single released by Hawkins in August 2020 is NOT the result of some modular synth mutation, but rather a field recording of the inside of an alien spacecraft. How else could these harrowing sounds exist? There is life on other planets, and it ain’t pretty.

It’s no surprise that Hawkins can evoke the scariest of sci-fi imagery in his work. The long-time DC – and now Baltimore – resident has specialized in crafting surreal sonic creations that could only be of extraterrestrial origin since 1985. For over 35 years, Hawkins has been pushing the boundaries of sonic possibility in ways that defy expectation and easy categorization, deftly balancing dark psychedelia and pulsing Krautrock and yes — field recordings.

The fact that Hawkins has been a frequent live performer at WE FOUGHT THE BIG ONE in our nation’s capital speaks to the affinity we have for this very special madman’s avant-renegade approach to music making.

We could not be more excited that Chester Hawkins’ first show since the pandemic started is the September 10, 2021 edition of WE FOUGHT THE BIG ONE. To mark the special occasion, I asked Hawkins “5 Questions” to see how he’s holding up during the age of COVID-19 and learn more about his unorthodox methods to his musical madness. Read on…

1) I’ve always thought of you as a quintessential DC musician (some of your records even feature field recordings from Rock Creek). I know you recently relocated to Baltimore. What prompted the move and how do you like it so far? Do you see some interesting possibilities there?

CH: It was pure economics. DC has been unsustainably expensive for ages. Neighborhoods have gone from under-supported areas with long family histories to glossy, bourgeois nightmares in one step, pricing out the old-timers in favor of Brunch Zombies with credit cards. At some point while I was too busy or not paying attention, the “tyranny of affluence” rushed into my city and plucked out its heart. SAD.

Then I realized I never considered Baltimore, after growing up in & around DC, just a short hop away. Came to find out it has much more economic diversity and independent/small business, it has more of its old residential architecture intact (why must DC knock down anything over 20 years old?), flavor. Vibe. Life. 

Of course there are huge swaths of Baltimore City that are long neglected and in dire need of some progressive econ solutions, some care and support. It’s a complicated place with many faces. But for me, it was finally time to cut DC loose & stop blowing half my income on simple housing.

Baltimore DOES have a scene for creative music, at least I think it does. With COVID, I’ve made zero attempts to assimilate so far, but seriously looking forward to it. Small venues not afraid of mysterious music…… that’s the target. Just need to get a certain pandemic out of the way.

2) You’ve been making experimental music, for lack of a better term, since 1985 or thereabouts. That’s quite a run for any musician, let alone someone known in underground circles for twisting and turning all manner of odd sounds into unusual shapes and permutations. I’m curious to know – how do you keep your creative fire burning so bright for so long? (A Replicant named Roy Batty also wants to know).

CH: I realized that “creative fire” needs to be snuffed out sometimes, to keep it creative. I’ll walk away from all music production for ages, to clean out the old habits. Shortly before COVID I decided to take a year off and shut the whole thing down. I had been noticing certain patterns forming in the creative process, it was getting predictable, and that’s not good. This is extremely SELFISH music: The goal is to enjoy the ride and forget I’m driving in the first place… to be surprised by what’s happening, and revel in it. 

So the plan was to take a year off and basically forget everything, then turn on the lights, fire it up again, and see what “music” sounds like. Then came COVID, and I decided to keep the muse deep in the grave for a little longer, and really push the experiment. 

I started getting the itch again about a month ago, so this event at Marx is the perfect kick in the arse to get going & see what happens.

3) From a gear standpoint, what are you using these days to create the “Chester Hawkins” sound? Are there specific modular synths that you tend to gravitate to? Has your sonic arsenal changed much in recent years?

CH: Field recordings have been a recent thing, a way of bringing some (literal) fresh air into a piece. Recording environmental stuff from a significant place and finding some narrative arc in the sound, then using the older instruments to play against it. Build this really elaborate sonic scene with many layers, all influenced by a faint impression in a background field recording. Then take the background away and you’re left with this deliberate (but totally mad) structure. 

That’s how the “Magnetisk Nord” CD came to be. I went to Denmark and walked the streets of Copenhagen, Helsingør, and Aarhus with an audio recorder, capturing street musicians, parents with strollers walking past, the water and boats in Roskilde Fjord, various things. Walking all day doing this, then staying up all night in the room, building the piece. So it was also an experiment in massive sleep deprivation.

4) I think of you as having a special talent for improvisation, but as your 2017 LP “Natural Causes” demonstrated, you are just as comfortable creating composed music. I know you’ve made several more albums since then. How do you feel these days about improvised vs. composed sounds? Has your perspective changed at all?

CH: Definitely want to get back to the composed stuff. “Magnetisk Nord” was composed, so to speak, on the operating table, whereas “Natural Causes” was really mapped out from the beginning. By the end of that project, the studio looked like a conspiracy-theory nutcase basement, with notes and scribbles on cards everywhere. Chaotic in a different way, but it does yield a really different sound. 

Many of the other releases were compilations of live-in-studio moments — excerpts of improv sessions. So naturally those capture a different energy: more of an urgent, animal-brain vibe. 

Perhaps the answer is……. no change in perspective, but the goal is to rotate between those methods and always offer something fresh.

5) Your live shows have always been something to behold. I know that in some experimental music circles it is verboten to think of shows as “entertainment” but damnit Chester, your shows are entertaining. I hope you don’t mind me saying so, but I feel you even have a bit of a “showman” quality to your performances, albeit in the best possible avant-garde “let’s blow the roof off this venue” kind of way. Am I way off base here? How do you see your live shows?

CH: HAHA! You may be thinking of the Blue Sausage Infant days there: That project was 100% rooted in that animal-brain, immediate-magic thing. There were costumes and insanely edited video projections, or accomplices in costumes doing irrational things during the set. One favorite set at Velvet Lounge DC involved reaching a totally nuts musical crescendo, setting it on auto-pilot, and letting it go while firing confetti guns over everyone with strobe-lights, so it was impossible to see what was falling on people. I think that was during the “ghillie-suit” era, so I’m dressed as a giant lump of moss during this madness. 

What did it all mean? Absolutely, aggressively, arbitrary nothingness. It meant nothing but Here and Now.

But alas, I’m a distinguished older gentleman now and the theatrics have mellowed in favor of a more careful musical experience. No more rabbit costumes and confetti, but I still love to generate an overwhelming sea of audio for a room, “beautiful” in maybe a psychedelic sense, but with a little friction in the mix, a little tension to keep things from getting TOO pretty. It might be tribal and pounding or it might be abstract textures and drones — 

It’s all different paths to the same place. No maps allowed, you’ll know you’re there once you arrive..!

Listen to and purchase Chester Hawkins’ music on Bandcamp. And be sure to check out Chester’s live show at the Friday, Sept. 10 edition of WE FOUGHT THE BIG ONE in-person (3203 Mt. Pleasant St NW DC 20010) OR online via Zoom. Register for the Zoom link at: bit.ly/WFTBO_CHESTER. The show kicks off at 10pm EST.

Tristan Welch is not like other DC-area musicians.

For starters, his day job is a little unusual. Tristan works at a funeral parlor in northern Virginia. He is literally surrounded by death on a daily basis. That might sound like a quote from an 80s goth band’s press release, but there’s no artifice about the moody atmospherics he creates. Tristan is the real deal.

Then there is the prolific nature of Tristan’s output. The operative word being PROLIFIC. This is a man who is relentless in his drive to create. “Temporary Preservation,” Tristan’s latest album, and possibly his most absorbing, was released in April 2021, just five months after his previous record, the excellent “Ambient Distress.” That was one of four releases Tristan put out in 2020. You read that correctly. Four releases in one year. Clearly, the pandemic has done nothing to stifle his creativity.

Speaking of creativity, perhaps what’s most remarkable about Tristan is the artistic growth on display with each release he unveils. “Temporary Preservation” might be the perfect encapsulation of his work so far. “Trying to Change the Weather,” the opening salvo on “Temporary Preservation,” evokes stark images of spiraling skyscrapers, empty cities, cold temperatures and grey skies (at least in my mind’s eye). Yet, these cinematic sonic vignettes also feel emotional and personal. It’s impossible not to be affected by Tristan’s creations.

One of the most memorable livestream sets at WE FOUGHT THE BIG ONE in 2020 was the show Tristan performed last December. The visual component of the performance was just as striking as the music itself. It is evident that Tristan sees this as an equally important part of his overall aesthetic.

With Tristan back to perform another livestream show for WE FOUGHT THE BIG ONE to promote “Temporary Preservation,” I took the opportunity to reach out to him and ask a few more questions about his fertile creativity, what he thinks of Brian Eno’s edict on “mistakes,” and how he is feeling about our world at roughly the halfway point of 2021. Read on!

1) Congratulations on the release of “Temporary Preservation.” It might be your most immersive record to date. Clearly, you have an affinity for crafting sonic landscapes that aren’t just atmospheric, but also emotional and personal. Were there any specific feelings or experiences of yours that helped shape the sounds on this record?

Tristan: I actually sat down with this and told myself – I’m just going to make a record. Typically I have some sort of bigger vision but with this I just wanted to create. Having said that I feel the need to create because of emotions and experiences. The idea of Temporary Preservation came from wondering thoughts at the funeral home (my day job). Daily I’m trying to preserve memories figuratively and literally. So that gave me a starting point. Truthfully though, the feelings that formed the record came from generalized depression and anxiety – feeling alone in a crowded room. I didn’t even want to think “big artistic picture” with this. I just wanted full sounds that made feel better. It worked at the time. I struggle with feeling like my life has much meaning, I struggle finding relationships purposeful, I struggle generally being happy… but when I create these big waves of sounds – I get a sense of relief and feel like I have friends.

2) I am fascinated by how increasingly prolific you have become. I suspect many artists look at your prodigious output and conclude they aren’t working hard enough – LOL! What’s your secret? Do you just have an abundance of creative juices flowing or is it about your work ethic?

Tristan: I’ve had some friends mention how they wish they could produce as much as I have – I’ve also gotten criticism. The secret is I just I feel empty without working towards something and ultimately recording – at least currently – is my most obtainable medium. It used to be live shows; but right now putting out records suits me a little better. As much I hate the idea of “work” – I am a worker bee. Once I’m engaged in a process I want it finished. Once I’m finished I want to move on. I’m not a perfectionist… which helps. Not only do I enjoy creating music, I like getting artwork together, I like trying different formats, I like working PR… I like everything about it. It makes my life unmanageable – it gives me headaches – it strains relationships – outside looking in its probably extremely unhealthy. But I’m all or nothing. I need to work on art to feel like everything else I do has a purpose. I have so many projects that need to be started and it makes me sick to my stomach knowing they aren’t in process yet.

3) Brian Eno once said to “Honor Thy Mistake As A Hidden Intention.” Can you think of a time when you accidentally stumbled upon a brilliant sound or idea by accident and it steered you down a more interesting path?

Tristan: On this record you hear my first experimenting with playing “bass”. I stumbled onto a setting on my SY1 synth pedal that just sounded FAT. I’ve never been great at bass but I just tried to use it like any other sound – and guess what… it’s on every track! Completely by chance. I think that little sound helped me create a record which is kinda ambient/ drone but totally not because it has these little riffs guiding the piece. I’m very rehearsed for live shows… but yet I always screw something up- but I embrace it and sometimes get some cool things out of it. What I hate the most though is when a mistake was awesome and I can’t re create it! This record has a bit of that.

4) Visuals have also been a big part of your live music aesthetic – from holding up physical signs with political slogans to displaying vignettes of film sequences. How would you explain your thinking into using visuals as part of the overall live experience, particularly more than a year into the pandemic?

Tristan: Well – I’m a solo performer with low confidence and self-esteem for one. So visuals help with that. Second I think performance is an art form in of itself. I don’t feel just hearing music live carries that much weight… I think it should be performed. The visuals help with creating that experience. Third is a bit like that last part – this is instrumental music… which is beautiful on it’s own.. but some context gives everyone an idea of where it may take you. I’m not a singer and while I’m capable of talking on stage… I feel we all talk enough. I’m still working on my visual skills though – I contemplate working with someone but it’s hard to get on the same page.

5) I recall a recent conversation we had about your music and I commented that there seems to be hints of light amidst the darkness. Since we are roughly at the halfway point of 2021, I wanted to ask – what, if anything, inspires you to feel hopeful?

Tristan: I’m generally discontent. I can be shopping at Safeway and wish I was at Giant – then go to Giant and say fuck this I should go back to Safeway. But I’m able to laugh about it. Even though so much is serious in life – how much does a lot of it matter? I don’t mean that in a nihilistic way (though catch me on a bad day I can go there). I just mean… it’s ok to laugh at the absurd. I can’t tell you how many times I’m arranging funerals for families and we end up laughing. It’s all a process… I’m hopeful that I am learning more daily and becoming a better person. What I’m not hopeful about is anyone noticing that, but at least I know it’s happening.

Listen to and purchase Tristan Welch’s new album “Temporary Preservation” via Bandcamp; follow him on Instagram and Twitter; and ‘Like’ him on Facebook.

Catch Tristan’s livestream show at the June 4 2021 edition of WE FOUGHT THE BIG ONE. Register at: bit.ly/BigOne_WELCH

The name Secret Wilderness conjures images of spacious landscapes and solitude — a place that nourishes the soul simply by its surroundings.

It’s a fitting moniker for the music and art project from DC-based multi-instrumentalist Jake Reid. Secret Wilderness offers listeners its own sonic landscape in the form of vast ambient atmospherics, electronic beats and random psychedelic space music. Secret Wilderness’ new tape, “The Endless,” is a gorgeous collection of tracks that are easy to lose yourself in.

The plaintive abstract delights that Reid creates with Secret Wilderness are a far cry from the piercing, wall-of-sound shoegaze that informed his previous projects, Alcian Blue and Screen Vinyl Image, the latter of which combined Reid’s love of Jesus & Mary Chain with his appreciation for John Carpenter soundtracks. “The Endless” has more in common with German electronic pioneers Cluster and Tangerine Dream than the influential Scottish brothers Jim and William who share Jake’s last name.

At the same time, it’s evident that the psychedelic sounds that helped define the U.K. underground in the late 80s/early 90s remain a key touchstone. The dreamy synths on “Holistic Glove” are pure Cocteau Twins, but with a Manuel Gottsching-inspired groove and more abstract electronic weirdness.

Just as impressive as the music itself is the featured art by Jake’s brother-in-law Justin Dodd. “The Endless” continues a tradition that started with the debut Secret Wilderness release where sounds from Jake and images from Justin combine together to form a whole aesthetic for the listener.

With Secret Wilderness set to perform the 17th Anniversary WE FOUGHT THE BIG ONE Livestream via Zoom (click here to register), I got in touch with Jake to learn more about what’s been happening in his world since COVID-19 became a new unfortunate reality. As you can see below, our interview covers everything from finding creativity during a pandemic to love of genre and ruminations on the cassette tape resurgence. Read on!

1) How has the pandemic affected your creative process? Would it be fair to say that Secret Wilderness has become even more of an escape for you during COVID?

Jake: I wasn’t able to focus on much music last year, there were so many bigger things happening to pay attention and engage with. Terence (Anathemata Editions) messaged me later in the summer about getting the Alcian Blue tapes going and that’s how I got back into working on some new material. I recorded a lot of this tape, the MISTER JACKPOTS EP, and the W33DW01F EP in a short burst. I haven’t done much this winter, but I have mastered some cool records too, there’s always something creative happening.

2) Your love of German electronic music really shines through on this new release. I can hear bits of Tangerine Dream, Cluster and Manuel Gottsching in the way you use layers of electronic sounds, textures and hums to create something beguiling and hypnotic. What is it about the German-flavored electronic “komische” genre that speaks to you?

Jake: Lately it’s been out of a feeling of relational I guess. If you look at Germany during the time they were making those records, there was still this ghost of the not so distant past haunting the country on top of the Cold War. The music these artists were making is full of new ideas and possibilities. They pioneered a new sound that looked forward in a collaborative hopeful kind of way. I thought a lot about that and how it parallels with how things are now when I was working on the new tape.

3) While we are talking about genres, I want to ask you about shoegaze and dream pop. It was exciting to see the recent Alcian Blue cassette tape releases come out. Even though you have come a long way as an artist since you made those recordings, I still hear traces – and dare I say echoes – of the genre in Secret Wilderness’ music. Do you still see shoegaze and dream pop as part of your musical DNA?

Jake: I’m always exploring something new or trying something different but you’ll always hear traces of shoegaze in it. For the live set this Friday I’ve got about as many stomp boxes set up as I did on my guitar pedalboard. I always aim for Cocteau Twins sounding synths haha. It’s in my DNA, I feel like it’s only a matter of time before I go back and do another guitar record.

4) Cassettes have come back into fashion, at least for underground music collectors. What’s your take on why audio tapes are coming back? Is it all about nostalgia?

Jake: Tapes for me personally are how I got into music. It was the cheap format when I was growing up where you could get used tapes (Record & Tape Exchange College Park shout out!) for like $2.99. So instead of going and buying a new tape for $11.99 you could get a few tapes and be able to expand your music palette more. I know the format really well and personally it’s always been a favorite format to listen to music. Kim has a dub of Pretty Hate Machine on a TDK tape from the 90’s and that tape will destroy your speakers, it sounds bananas.

5) You’ve been making music for many years now, both as part of collaborative projects like Alcian Blue and Screen Vinyl Image and also as a solo artist, as well as a sound engineer. Over the course of your musical journey, what have you learned about yourself along the way?

Jake: All the different aspects of music are processes. Writing a song, practicing for a show, recording an album etc. And there’s highs and lows, accidents, mistakes, brilliant moments, and plenty of times where you have to work really hard for the desired result. Life is an even broader example of this. My new album explores a lot of these themes, the various loops in our lives that we either work on improving or work on getting out of and all of the ups and downs that go with it. I hadn’t really thought about it much before doing the Alcian Blue re-masters, but working on that project last summer got me thinking about how the music I’ve been a part of is a document of the journey and that’s pretty cool.

Catch Secret Wilderness’ performance at 10pm EST on the Friday, April 2nd 17th Anniversary Livestream edition of WE FOUGHT THE BIG ONE! Register for the Zoom link at: bit.ly/BigOne_SW

Listen to and purchase Secret Wilderness releases on Bandcamp and check out the Secret Wilderness website. You can also “Like” Jake’s Machine Drift page on Facebook, and follow Secret Wilderness on Instagram.