Pictureplane’s bass coagulates blood on sonic impact. Electronic artist Travis Egedy (http://soundcloud.com/pictureplane) sat down with Clarissa Dolphin (www.dolphinink.biz) to enlighten Broccoli City on how his music transports listeners from dimensions of sound to planes of sentient. Pictureplane will perform next in June at the Electric Forest Festival in Michigan.
BUKU Music & Art Project was a two-staged indoor and outdoor progressive music festival banging on the banks of the Mississippi River in March. The bass rippled waves in waters ravaged by hurricane Katrina, the surrounding Gulf of Mexico still gurgling oil. Many revelers came from all over the Delta and adjacent states to see Grammy-winner Skrillex, Avicii, Diplo, A-Trak, and Wiz Khalifa for the first time. The atmosphere propagated by the fecund humid swamp air was one of begetting: the palpable parturition of creating and defining an unprecedented cognizance.
DOLPHIN: Hey! How are you feeling about being in NOLA and the whole BUKU atmosphere?
PICTUREPLANE: Um, well you know I just got here. It’s crazy I was telling them in the last interview that I was in Austin, Texas just yesterday. I had a performance at like 3 o’clock in the morning in this insane sweaty warehouse like insanity.
DOLPHIN: Oh God.
PICTUREPLANE: I had to get on a plane at like 6:00 a.m. and come straight here. I’m really new to the festival thing. I guess it’s really new in America in general to do something like this. But, I don’t know, I love it. I’m diggin’ it. I love New Orleans. I’ve been here multiple times. There is always a really special energy here, so.
DOLPHIN: Cool. Yeah, it’s my first time too, and we road tripped for like 30 hours [from Los Angeles].
PICTUREPLANE: Oh crazy.
DOLPHIN: Yeah, like Gangsta. [Your album] Thee Physical dropped last summer. We were banging it on the way here. And as a listener I found it stimulating on every level — neuro, emotion, and just like pure immune system. It was like human carnality [action] going on. How do you create a sound that transports people from pure sonic to the sentient?
PICTUREPLANE: Good question. My music — I think of it — it’s definitely sort of an alchemical experiment, hitting people in different ways than just like a normal song. It’s more of like I try to be a social de-conditioning agent to kind of like help consciousness all over the world really. To push people forward.
DOLPHIN: I get that completely. Because what I found with each of your songs; some songs on your record like I wanted to kick it; some songs I wanted to fuck; others I just wanted to chat to, shoot the shit. It was like each song had this corporeal mass, like a human being would. So I wonder what you—?
PICTUREPLANE: Well it’s very humanistic music. I’m really interested in humanity and what drives us spiritually as humans, like to do what we do, you know? And the album was really about that. And it’s really about people experiencing their world physically and touching each other.
DOLPHIN: What does that say about human relationships? How we engage with each other?
PICTUREPLANE: Well, human relationships have changed a lot because of just our digital culture that we live in now. It doesn’t necessarily mean that it’s bad; it’s just a change from even the last 10 years. It’s a huge quantum leap. And that’s really interesting to me, how people reach each other digitally, but also needing to be touched physically at the same time too.
DOLPHIN: To live right? Because newborns die if they don’t get a cuddle.
DOLPHIN: [Laughs] so we need each other even though we have the Internet?
PICTUREPLANE: Yeah of course that’ll never go away. We’re humans you know.
DOLPHIN: I know that you do some performance art in Colorado. How does that impact your creative process musically? And also your live performances?
PICTUREPLANE: Well I treat Pictureplane really as a performance art project. I mean it’s musical, but it’s still a performance really. I mean — I guess just because you know I studied Art in school. I —
DOLPHIN: Where did you go?
PICTUREPLANE: Rocky Mountain College of Art and Design in Denver, ‘REMCAD’. I studied painting — so I’m hugely interested in Art and Contemporary Art. Pictureplane is really just an art project kind of, but I do some performance art too. That’s not like musical. I’ve done really weird stuff [laughs].
DOLPHIN: We love weird shit. We’re trying to streak soon, so.
PICTUREPLANE: At this festival?
DOLPHIN: Yeah I think.
PICTUREPLANE: There will probably some of that happening late. I think that there are going to be a lot of kids on Ecstasy just [whir sound] going out.
DOLPHIN: Yeah, let’s find those degenerates and get our naked on.
PICTUREPLANE: Sure, sure.
DOLPHIN: So what’s the story behind Pictureplane? It’s like an origami name. How did you come up with that?
PICTUREPLANE: Origami, I’m just — um, it’s an Art term. I didn’t come up with it actually. Pictureplane — it’s a really simple term that just denotes a two-dimensional surface plane that a picture is sitting on like the frame basically. I was flipping through an index of an art book in school, and I saw that. I was really into airplanes at that time, like drawing a lot of planes. And I like that a plane can mean a lot of different things; planes of existence and reality, and it just fit. It’s a weird name, but I chose it a long time ago. But I mean it’s who I am.
The musicians Clarissa spoke to for Broccoli City were elated to share their thoughts on the cultural genesis taking place in the music scene today. According to them, digitalism has inexorably altered the way we commune with our kind, elevating niche to mainstream. The “fall of the superstar” has been supplanted by fertile collaborations between artists across all genres. Eclecticism reigns in a society where individualism has fused with collective consciousness.
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