Jochen Tiberius Koch’s album “Old Man and the Sea” has just been released. Jochen is a Leipzig based composer and musician. Devotee of sound and acoustic textures. Tries to tell narratives in a musically way. Loves all frequencies. His music consists with bewilderment and harmony, and brings pleasurable melancholy.
We met the artist for an exclusive interview that you can find below.
Welcome Jochen and thank you for this interview.
What are currently your main compositional challenges?
The most compositional challenge currently is time. The world is in a explicit condition. These days are exhausting for people who advance society. And I own one of these jobs, so my love and heart, the music, does not earn a lot of time. But when I´m into it, my thoughts, inspiration and attention is onehundred percent into the creative process.
What do you usually start with when composing?
I start with a walk outside. Just me and my thoughts. I try to catch and imaginate which ways the song, the album, the concept will use. After that, the first chord is necessary for the foundation. The rest is construction of euphony, dramaturgy. I need to use chapters to build small stories around the plot.
“Old Man and the Sea” has recently been released with Blue Spiral Records, can you tell us something more?
I loved to immerse Hemingway’s Old man and the sea. Such a powerful novel with such a lot of different meta levels. Everybody can find contexts and sub-contexts for the very own life in it and it´s beautiful written. So my idea was to create a musically monument.
The timbre is the essential one. Without a “feelgood” emotion, the record doesn´t work.
How do you see the relationship between timbre and composition?
The timbre is the essential one. Without a “feelgood” emotion, the record doesn´t work. At the end of the dramaturgy, although oppressive and despairing basic mood, Smilla and me could build a positive vibe, with an anthem for the old man; for everyone.
Do you feel it important that an audience is able to deduct the processes and ideas behind a work purely on the basis of the music? If so, how do you make them transparent?
Sometimes it´s important for the audience what will happen during the next track. We need for the „old man“ the plot. In this case it makes sense. On the other hand I builded records which internalize a concept, but for the pair of ears it doesn´t matter what will happen. Only sound will guide you through the work.
What’s a typical work week like?
A typical work week is felling, annoying, soul-destroying, time consuming. But in the end, it will spend me the right touch to dive into the magic of the creative process, the most non-clerical spirituality.
Everything is sublime during the progress of construction, composing.
What is most challenging about what you do and what is most rewarding?
Everything is sublime during the progress of construction, composing. Everything after that is challenging me…:D
What are your goals/dreams for the future?
For my understanding and my feelings of the music, it will made sense to combine music and moving pictures. Any kind of. My music is a picturesque one and actually it does need film/docs/…to grow into a conglomerate.
What else would you like people to know about your job/career?
hmm…actually…Beauty is unbearable, drives us to despair, offering us for a minute the glimpse of an eternity that we should like to stretch out over the whole of time… as Camus said. THX a lot for your interest and stay stereo!