In this episode, David interviews East Forest: Portland, OR-based producer, podcaster, ceremony guide, and musician, specializing in ambient, electronic, contemporary classical, and indie pop music largely to guide listeners through deep journeys.
Forest discusses his live performances and influences; how his music pairs with journeys and specific psychedelics; the difference in the connection and vibe from a live performance vs. a recording; the difference between single-artist music created specifically for sessions vs. Spotify playlists; the inhumanity of generative music; his Journey Space online music and journey platform; and the challenges of making money in a time when music is more prevalent than ever, but also more in-the-background and diluted.
He talks a lot about sound itself: the role of rhythm and sound in communication and personal transformation; how richer overtones and increased layers of sound increase effects; research into very low pulsating tones, and how more synthesized sound and the growth of AI has created a yearning for more authentic, imperfect sounds.
His newest album was just released August 18: “Music For The Deck of The Titanic,” an homage to the musicians who spent their last few hours playing songs for passengers amidst the chaos and tragedy – an album Forest sees as an offering to the chaotic moment we’re all in.
“I’m trying to make music that is intended to come directly into the foreground and pass the foreground into the place where you merge with the music, and the music becomes the sonic architecture by which you are having an experience inside, and perhaps become it, synesthetically. So I want to go way beyond it being in the background. I actually want it to be even more than a guide. It’s almost like you synthesize with it as one: like who’s guiding who? There can be a magic to those experiences that’s far beyond anything I’ve ever experienced in anything else in life, and that’s really the North Star that I want to be in service to. I don’t think, even, that that’s something that I can concoct or conceive totally. It’s more opening myself up to some kind of magic that’s way beyond anything I could decide.”
“What I love about humans’ creativity is the fact that we can be creative and we can celebrate that by making things like art. When I’m surprised by art is the best feeling. And so giving people support to create: as of now, we can’t beat that. You’re just asking yourself: how far can we go in this celebration and in this experience? I have never experienced a generative experience that’s even anywhere close to where we can go with one person sharing their humanity in a way that’s beautiful. If it’s innovative, even better.”
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