Fr33dback is set to open for Brooklyn beatsmith Chrome Sparks tomorrow, but hasn’t even released any music. That changes today with the premiere of “Refractions.”
The cut comes from MathMath, the debut EP from Tampa producer Matt Reisinger who previously played in punk outfit Select Start before turning to knob twisting and programming. On the EP, the 32-year-old Reisinger has created a 22-minute, seamless collection of electronic samples, organic sounds and mind-warping textures all put to analog tape in his Seminole Heights home studio (1982 MCI quarter-inch, two-track reel-to-reel for the gear nerds).
DO THIS: CHROME SPARKS W/ROLAND TINGS/FR33DBACK
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“Refractions” sits in the middle of the six-track effort. It was one of the first songs Reisinger composed for MathMath, and he didn’t wring his hands too hard over putting it together.
“I find that there isn’t too much time to overthink the music that I make, so I’ll just start with one element, give it space and weight, and then move on to another and try to find a way to weave it in as seamlessly as possible,” he told CL. “I find it to be a very organic experience. I’ll sort of lose myself in the writing process and come out the other end feeling surprised that I was able to create such sonic textures.”
Most of MathMath‘s concepts came from demos Reisinger has been working on over the last year where he would stich separate ideas together before continually changing, remixing and adding more sound.
“Once I had the songs where I wanted them, I spent some time deconstructing every element to create a master session that I use when I perform for an audience. It gives me the ability to make structural decisions on the fly, essentially providing an infinite number of permutations of the each track for every live performance.”
That live performance recently earned Reisinger a Best of The Bay award we playfully dubbed “Best Playthings,” and it’ll be on display when Fr33dback opens for Chrome Sparks tomorrow.
“It’s always an interesting challenge to integrate my setup into a new venue. I designed an interactive visual component for my first two shows at Lot 1901, but with the limited space and the brief amount of time in which an opening act is given to setup and perform, I have to find creative ways to translate what I do into this new canvas,” Reisinger said.
“Thankfully spending years touring the country with a six-piece band, that sometimes had to share the stage with hefty amounts of backline from other tour support, got me used to working within such constraints, and I have not felt nervous on stage for as long as I can remember.”
Listen to “Refractions” and read our entire Q&A below. Get more information on Fr33dback’s show tomorrow via local.cltampa.com. MathMath sees release on Friday November 4 — get more information on purchase here.
CL: When do you know a Fr33dback song is done?
Fr33dback: Being your own producer has its fair share of complications, and knowing when a song is complete definitely tops the list. There are so many options in the palette of a modern sound engineer, so it’s tempting to never stop adding elements. Typically I will use the first session to design all of the sounds, find a groove, and introduce additional interesting sonic textures that complement it, and then wait a couple days, and open it up again to edit everything down, experiment with song structure, and really find the essence of the track.
How long was the process for Math Math from inception to today, I feel like we’ve been talking about this for a year.
Most of the original concepts for this album came from demos that I worked on last year. I had folders full of ideas to which I continued to add and change, then remix, and add some more. Once I had the songs where I wanted them, I spent some time deconstructing every element to create a master session that I use when I perform for an audience. It gives me the ability to make structural decisions on the fly, essentially providing an infinite number of permutations of the each track for every live performance.
Who did that art?
I have this concentric square design concept that I use as a brand logo on my website, and I wanted to keep that as the guideline for the album artwork, so I took to the internet in search of art that inspired me. I found a collection of works by The Unknown Being and used a couple of his pieces to mock up the album art in Photoshop. It was exactly what I had envisioned for this record. MathMath is all about my love of technology and my vision of the future. There was something so perfect about how his work and the way it played with the sounds that I created.
The master’s are back, how do you feel and what’s on your mind for the immediate and more distant future?
It just feels really good to complete a personal project. I spend most of my time working on music and sound design for other brands, so making something completely for myself was a wonderful way to keep my creative juices flowing. As for the future, I will be performing the album for as many audiences as I can, and continue to evolve with help from my friends in the music industry and the technology space.
“Refections” — tell us a little about that track
“Refractions” was one of the first songs that I composed while writing this record. I find that there isn’t too much time to overthink the music that I make, so I’ll just start with one element, give it space and weight, and then move on to another and try to find a way to weave it in as seamlessly as possible. I find it to be a very organic experience. I’ll sort of lose myself in the writing process and come out the other end feeling surprised that I was able to create such sonic textures.
Who are your influences and how does the precedent they set dictate the expectations you have for yourself when composing (and specifically releasing) music?
I am most often moved by artists that can take their audiences on a journey, and that is especially true when it comes to their live performances. I have always felt mentally (and physically) transported while watching acts like M83, Flying Lotus, Moderat, Disclosure, and Justice, just to name a few, because they all seem to create a vibe that truly transcends the music. It makes me want to continue to push myself in my own craft and cultivate an audience that looks forward to experiencing something new every time I perform.
Last one: your show is famously visual, you’ve got a few smaller ones done and now this is your first (?) opening gig for a major touring artist, any nerves?
It’s always an interesting challenge to integrate my setup into a new venue. I designed an interactive visual component for my first two shows at Lot 1901, but with the limited space and the brief amount of time in which an opening act is given to setup and perform, I have to find creative ways to translate what I do into this new canvas. Thankfullyspending years touring the country with a six-piece band, that sometimes had to share the stage with hefty amounts of backline from other tour support, so I’m used to working within such constraints, and I have not felt nervous on stage for as long as I can remember.
This article appears in Oct 6-13, 2016.
