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Lofiles is a music and mp3 blog contains a collection of songs I love. MP3s are for sampling purposes only. If you like the music as much as I do, please go out and buy the records! .If you have a complaint about the ownership of a track, please contact me directly and I will be happy to take it down ASAP.
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The David Moore Lofiles interview

Q: Where do you live these days? Are you a family man? (Hopefully that’s not too personal)

A: I live in Brooklyn, but I tour about 8 months out of the year so I don’t get to be here as much as I’d like.

Q: First of all, we wanted to know what`s the idea behind your homepage photo

A: It was taken by a one of my best friends Sebastian Cros. He’s a great filmmaker and photographer. His work always seems to be aiming for that ever-elusive line between ‘too-certain-to-be-vague’ and ‘too-vague-to-be-certain’. That photo was his 90 year old neighbor in Paris. While she was speaking of her late husband she started instinctively touching her wedding band, and Seb had the eye to catch the shot.

Q: What`s your musical background? Did you grow up in a musical home? Attend music school;take music courses at college, university?

A: My father is very musical, and he brought me up as a part of that world. When I said I wanted to learn piano they got the house a piano. When I said I wanted to learn percussion they helped sign me up for school band. It’s because of this I was able to learn a lot of instruments. I mean, here you have a kid who wants to play drum set AND banjo. You’ve got to love someone a whole lot to put up with that every night after work. After high school I tried my hand at a few conservatories and music schools. Finally got the degree from The New School for Jazz and Contemporary Music in New York and have used it exactly zero times.

Q: What did you listen to when you were a child?

A: A lot of blues and rock. My first concert was Sonic Youth and REM. In high school I started getting really into classical and ambient music, and that sure did make me a lot of friends.

Q: When did you start playing the piano?

A; I think I was 5 or 6. Around the time I started school.

Q: What are you first and foremost: pianist, composer, or performer?

A: They all sound pretty good to me.

Q: Do you take advantage of the amazing progress in technology around you? Are you a technical person or an old school “just-let-me-play-my instrument” kind of guy?

A: I don’t know that I really think about it that much. I suppose one thing I value greatly is limitations. With computers and technology there is this sort of ‘anything is possible’ attitude, which is great for some people, but not for me. I need limits, and I need people.

Q: Do you prefer to make music live or do you use software, electronics? If you’re using technology, could you elaborate and provide specifics (i.e., vst`s, plug ins, software, hardware, etc.)

A: Always live. There is something sacred and timeless about any number of people standing next to each other and creating sound.

Q: Has Brian Eno`s ambient work influenced you and your writing?

A: I’d never heard Brian Eno until I started making the sort of music where people thought to ask me about him. I will say that I and an entire generation of people who do what we do certainly owe him a hefty debt for opening lots of ears to music of this sort.

Q: Can you name some major musical influences on your playing, your writing?

A: Actually one of the first important influences for my writing was the soundtrack to the video game Echo the Dolphin. I used to sit and play for hours but never got past the first level. It was later I realized I stuck in there for the music. Somebody else that really shaped me is the film composer Thomas Newman and his orchestrator Thomas Pasatieri. I also dig a lot of old time and bluegrass music. Oh, and I could listen to ChristophPoppen play Bach all day long.

Q: As we understand, ‘Bing and Ruth’ is a collective of musicians. How did it come about?

A: For the most part they are all friends I met at the new school. It was a jazz school, but a lot of usfound ourselves there with very little interest in playing traditional jazz. Out of those people a number of bands popped up, Bing and Ruth being one of them.

Q: We saw a Film Music section on your site (coming soon).What soundtracks were you involved with?

A: I’ve scored a number of short films and just accepted my first feature. Also done some music consulting for a few projects. I really love doing it and wish I had more opportunities to.

Q: Would you rather listen to composers like Stockhausen, Cale, and Phillip Glass, or do you prefer the classical ones, from Bach to Handel to Haydn to Mozart to Beethoven to Schubert to Chopin? What about electronic and ambient music?

A: I don’t listen to a lot of music these days as I’m usually pretty mentally invested in whatever I’m working on at the time. That said I enjoy listening to all kinds of music, and certainly everyone on that list you just gave has something profound to offer. I always come back to Bach though.

Q: How do you go about recording a ‘Bing and Ruth’ album? Do you get together with the other musicians and improvise around a motif, or do you treat it as a jam session, or bring people in to overdub on basics you have recorded? Or do you write the parts for them and they do session work? What`s the creative input of your companion musicians?By the way, ‘And Then it Rained’ is amazing.

A: Thanks! Each record has been a different process. For ‘City Lake’ we let those pieces develop over the course of a couple years. Essentially I would have a musical idea and bring it into rehearsal to experiment with it. Try different combinations of instruments, different arrangements, etc. Then I’d go home and rewrite it and start the whole process over again. There is one song on the new album that took about 10-15 rewrites to get where it needed to be. Other songs got it on the first try.

Q:Can you listen to your records after you have finished them? I mean, when I used to finish an album, I could hardly listen to it any more.

A: Absolutely. I make records so I can listen to them.

Q: What is on the album cover of CityLake? Why did you choose that title? I notice that your worked has some unusual and esoteric titles; ‘Portrait of a Dead Bird Falling’ for example, what is the story behind that one? It sounds like something that you experienced as a kid that stayed with you your entire life.

A: Like I said, I travel a lot. I made a habit of listening to the demos and rough mixes on the airplane and always found it was the perfect sound track for experiencing that moment when all the lights of a city start blending together, becoming one mass of light as opposed to millions of tiny ones.As for the album cover, I based the design from a photo I took of an old freight elevator in the warehouse building we mixed the record at. Everyday I saw these paint drips and was always fascinated by them. When the time came to design the images, I didn’t even have to think about it.

Q: Who does your artwork? (Album covers, website) We love it and think it fits the music perfectly.

A: I do almost everything. I’d like to say it’s because I enjoy design work, but I think at heart I’m just a control freak.

Q: I saw Vincent Moon is one of ‘Bing and Ruth’ top friends on My Space. Do you know of him and his work? I think ‘Bing and Ruth’ is ideal for TheTake-away shows.

A: I met Vincent in France last summer and he has since become a good friend. He recently filmed a take away show with Bing and Ruth performing out at coney island on the snowy beach, and myself playing solo piano. It’s such an honor to stand in front of his camera. I’ve never seen anyone even come close to capturing live music the way he does. Very special eyes on that one.

Q: Our favorite project of yours is ‘Book of Days’. It’s beautiful and it really touched us. It reminds me of a Bill Evans record. Can you tell us about the making of this album – writing and recording it? Where did you record it?

A: Book of Days was more or less an accident. I was living in Kansas City at the time and writing a lot of music that didn’t quite fit in with any of the bands I was playing with. I started noticing that the conservatory was leaving the concert hall unlocked at night so one day I snuck in there with some microphones and just recorded a ton of music. The best of which became that record. It existed for a couple years circulated only amongst friends and family until I was convinced of doing a proper release.

Q: Is there a regular recording studio you use? Do you have a favorite engineer?

A: Every project calls for a different recording environment. With ‘City Lake’ we went into a proper studio because that was the sound I needed for those songs. With ‘Kentile Floors’ I found a big church to record in. As for engineers, right now I’m working very closely with Brian Bender and his studio Electric Union. Brian recorded and mixed ‘City Lake’ and after hearing what he did with that, I’d trust him with anything.

Q: If you have an mp player/ iPod, what is on your current playlist?

A: Lately I’ve been listening nonstop to this band from Montreal called the Luyas. They have this amazing new record that’s been finished for months, but has yet to see the light of day. Their lead singer and I get along quite well over that subject.

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