Song of Ice, interview with Ghost In The Loop

Ghost In The Loop is an emerging project from France, which, despite the short time it has been active, has already left its mark within the Ambient and Ambient-Electronic music scene.

Led by the musician, composer and producer Aurélien Buiron, Ghost In the Loop is very clear about the type of music he want to create and the message he want to convey through it. He has three LP's, "Music For Liminal Spaces" (March 2022), "Cold Space Symmetry" (November 2022) and "Cold Space Symmetry / Ambient Rework" (June 2023), the latter two published by the Mare Nostrum Label, from France.

On the cover of "Cold Space Symmetry" you can see the characteristic antennas of the large space observatories, specifically the IRAM Observatory (The Institute of Millimeter Radio Astronomy) based in France. This image is not only a typical cover that serves to illustrate the album, but also represents the reason for it, since it is the source of inspiration that served as the basis for its creation.

But Aurélien's ambition goes further, his desire to combine musical creation and his love for nature led him to the foot of the observatory to record a series of videos where he plays the tracks that make up the album.

While the rest of us enjoyed this launch, Aurélien already had his next destination in mind, this time it is the Zinal Glacier cave, in Switzerland. The mission: to make field recordings that will serve as a source and basis for the composition of the next Ghost In The Loop album, which will be called "Le Chant De La Glace" (The Song of Ice).

With the necessary information obtained from a local guide, accompanied by his film and video team made up of Fabrice Buffart and Hugo Préverand, the expedition was prepared to reach up to 2,100m high where the glacier is located with an average temperature of -7°C.

Armed with the necessary recording equipment to capture the sounds of the place, contact microphones, hydrophones and supercardioid microphones.

Amazed by the beauty of the space, and flooded by the magical sensation of being able to enter the depths of the place, the terrible cold did not prevent the team of friends from staying there for hours to achieve their mission.

Some recordings remain as they were recorded and other sounds were synthesized live inside the cave. The album offers a unique, immersive experience, from the heart and the living voice of the glacier.

Mare Nostrum Label will be in charge of publishing the album again, with a release date of October 20, 2023, the first single we can hear is "L'imaginaire des Glaciers", released today, you can watch the video below.

INTERVIEW

-Hello dear Aurélien, how are you?

A: Hi Klaus, I'm doing very well, thank you. The last few months have been full of projects and emotions, which is very motivating. So I can say that I'm riding a very good wave of positive energy at the moment.

-Please tell us how was your approach to music and especially to Ambient music.

A: Well, my journey with music began during my college years at the age of 14. I immersed myself in the world of music by playing bass and occasionally guitar alongside my friends in various rock and metal bands. As my passion for music grew, I decided to take it a step further and enrolled in the conservatoire. There, for six years, I delved deep into the realms of contemporary music and improvisation, honing my skills and expanding my musical horizons.

While pursuing my studies in instrumental optics and eyewear, I also became part of several cover bands at school. This experience proved to be invaluable as I had the privilege of collaborating with a group of exceptionally talented musicians who shared their expertise and knowledge with me.

Upon leaving school and entering the professional world, I joined my first band with a strong desire to make it “big”. We delved into the Pop/Rock/Alternative genre and recorded two studio albums. Our hectic schedule of concerts and performances during this time provided a crucial period of growth, allowing me to explore and embrace even more musical styles.

However, life took an unexpected turn during the Covid period. As the world paused, so did my band, putting our work on the third album, which leaned towards an electronic direction, on hold. It was during this challenging time that I decided to venture into a new dimension of music. I invested in my first analogue synthesizers, drum machines, tape machines etc, and began experimenting with different sounds during the long periods of confinement.

My sound discoveries found their way onto social media, particularly Instagram, where I stumbled upon an incredibly inspiring community of passionate musicians. This virtual encounter acted as a catalyst for me to embark on a solo project, which I aptly named "Ghost In The Loop."

-I've been listening to "Cold Space Symmetry" and watching the videos again, reading the introduction to the album about you arriving with the images from the IRAM Observatory to Mare Nostrum Label.

Were you completely inspired by this (the observatory) to compose the album?

A: That's absolutely right!

Exploring the IRAM Observatory is a remarkable experience. The remote location, high above the world, creates an otherworldly atmosphere that leaves you in awe. The rugged terrain and the strenuous trek to reach the observatory only add to the sense of adventure and accomplishment.

As you ascend the rocky path, the weight of your equipment serves as a constant reminder of the dedication and passion that led you here. But every step taken brings you closer to witnessing the marvels of scientific discovery and exploration. The anticipation builds as you approach the observatory, and finally, the majestic antennas come into view, standing tall and proud against the vast sky.

In that moment, the exhaustion seems to dissipate, replaced by an overwhelming rush of emotions. The sheer magnitude of the observatory's presence and the knowledge of the groundbreaking research conducted there fill you with a sense of humility and wonder.

Surrounded by the beauty of nature and the cutting-edge technology of the observatory, a powerful sense of inspiration submerge you. It's as if the universe itself has opened its doors, inviting you to delve into the mysteries of the cosmos.

-How did the idea of going to record videos at the foot of the observatory come about?

A: It was a friend who informed me about the existence of the observatory. I didn't even know that we had something like that in France. The proximity of the observatory was a game-changer for me. Knowing that it was just a few hours' drive away, I felt a strong pull to experience it for myself. The thought of having this opportunity right at my doorstep filled me with excitement and curiosity.

-Now, back to "Le Chant De La Glace".

I think the idea of making an album based on field recordings made on the glacier is great, especially after seeing videos of the place and photos of you and your team, it's beautiful.

Where or how did the idea of doing it come from?

A: Thank you very much for the compliments on the photos and videos. I was fortunate to be accompanied by the same team of friends who followed me to the observatory for "Cold Space Symmetry": Hugo Préverand for the video part and Fabrice Buffart for the photos.

After my album at the observatory, I wanted to explore new horizons, pushing the immersion for both myself and the listeners even further. So, I began researching natural sites nearby that were relatively easy to access, not too dangerous, and, most importantly, inspiring to me. During my search, which didn't yield anything particularly interesting, I suddenly remembered a photo I had seen years ago of the glacier. It spontaneously came back to my mind, and that's how this new project was born.

-What is your experience of being on the glacier, contemplating the space, the beauty of the place, listening to the sounds, noises and silences. What does this experience leave you?

A: I had absolutely no prior experience with glaciers, both in terms of the logistics of accessing mountainous areas and the potential dangers involved, as well as recording the sounds of glaciers. So, I first got in touch with a local mountain guide who had a thorough knowledge of the location. His expertise was invaluable in explaining potential risks, showing me access points on maps, and informing me about areas to avoid in case of avalanche danger. I would like to extend my gratitude to Robert Klein from "Into The Nature" for his invaluable assistance.

Once I had a good understanding of the access and safety aspects, I delved into the technical side of things, such as microphones and recording techniques. This was a completely new territory for me, and I had to learn everything from scratch.

The process of recording the sounds of glaciers presented its own set of challenges. Glaciers are dynamic and constantly changing, with various elements contributing to the sounds they produce. It required careful planning and a keen ear to capture the essence of these awe-inspiring natural wonders.

With the guidance and knowledge of the mountain guide, I was able to explore and navigate the glacier safely. It was an unforgettable experience, immersing myself in the majesty of these icy landscapes. Recording the sounds of the glaciers added another layer of depth to my artistic journey, allowing me to connect with nature in a profoundly intimate way.

On the technical side, I researched and experimented with different contact microphones / hydrophones and recording techniques to capture the intricate nuances of the glacier's sounds. It was a learning process filled with trial and error, but each attempt brought me closer to achieving the desired result.

During the recording sessions, I found myself captivated by the vastness and tranquility of the glaciers. The subtle crackling of ice, the distant rumble of moving ice masses, and the echoes bouncing off the surrounding mountains created a symphony of nature's most magnificent elements.

In the end, this venture into the world of glaciers not only enriched my understanding of nature but also opened up new artistic possibilities. The recordings I made in those icy landscapes became an integral part of my musical project, allowing me to convey the beauty and mystery of glaciers through the language of music.

-How did you decide what you wanted to record on the glacier, did you go with a preconceived idea and focus on it or did you decide on the spot?

A: Before embarking on this expedition, I researched as much as possible about recording the sounds of ice. Planning is crucial for such a project, primarily because the time spent on location is limited and the conditions are quite extreme. I wanted to be well-prepared to make the most of my time there.

I went into the expedition with some preconceived ideas for the recordings, but I also left room for experimentation and discovery on-site. Nature always has surprises in store, and being open to these unexpected moments can lead to extraordinary results.

The initial recording plan provided a solid foundation, but I quickly realized that the glacier's sounds were far more diverse and intricate than I had imagined. Each crack, creak, and rumble told a unique story, and I wanted to capture every aspect of this natural symphony.

I embraced spontaneity and allowed myself to be guided by the environment. The unpredictable nature of glaciers pushed me to adapt and find creative ways to record even the most subtle sounds. Sometimes, I would sit patiently for dozen of minutes, waiting for the perfect moment to capture a specific sound, while other times, I would chase fleeting echoes and reverberations across the icy landscape.

The process of recording the sounds of glaciers became a harmonious dance between careful planning and embracing the unknown. It was a delicate balance between respecting the environment and being receptive to its surprises. The experience taught me to be patient and appreciative of nature's wonders, always remaining open to unexpected inspirations.

-How long were you in the place and how much did you record? I imagine it must be several hours of recording.

A: We spent the night in a mountain refuge to start our ascent very early in the morning to reach the glacier. We arrived at the location at 9 a.m. with the plan to leave by 4 p.m. We didn't want to repeat the experience we had at Plateau de Bure, where we had to descend in the dark with headlamps, which was already quite dangerous at such a high altitude on such rugged and steep terrain. This time, we planned our time on the glacier better to descend with more peace of mind.

In total, I have approximately 3 hours of recordings, capturing both the sounds of the glacier and the live music and ideas composed on the spot.

The decision to start early in the morning was strategic. We wanted to make the most of the daylight hours to explore and record the glacier's sounds while ensuring we had enough time to safely descend before it got dark. Being in the mountains with unpredictable weather and challenging conditions, safety was a top priority.

-Of that recording time, more or less, how much did you use to compose the tracks?

A: It's challenging to provide an exact duration as I write these lines, as I haven't quite finished sorting and processing all the recordings. However, I would estimate that I have approximately 45 minutes of clean and usable recordings. These recordings vary in length, ranging from short one-shot clips lasting a few seconds to longer sessions spanning several minutes.

In addition to selecting the best recordings, I'm also experimenting with various techniques to enhance the audio quality and weave the sounds together harmoniously. The recordings will be carefully curated and arranged to create a captivating musical narrative that embodies the essence of the glacier's allure.

-I've been listening to the advances of the album, I think they're beautiful tracks, there are distinguishable parts of the recordings and others that are very musical.

What was the process in this case? Did you use the recordings to insert them into the track, did you use them as a base, or are they modified, processed and that's what we hear?

A: I'm thrilled that you enjoyed the music you've heard so far. In the composition process, I've taken two main approaches with the glacier recordings. First, I've kept some of the raw recordings as a backdrop, allowing them to serve as a foundation while adding musical elements on top. Secondly, I've taken the sounds of the glacier and modified them, often in real-time on-site using my modular synthesizer, and also in post-production using various sound design techniques. This has allowed me to create unique synthesis engines with textures that I've incorporated as instruments in the composition process.

In each piece of music, you'll find at least two sonic elements originating from the glacier. Sometimes these elements are quite evident, while at other times, they are subtly woven into the music. I believe this album will offer numerous surprises throughout multiple listens, gradually revealing its well-hidden secrets.

For me, it's crucial to maintain a narrative flow throughout the tracks and the album as a whole. I aim to present an immersive and poetic journey with the glacier's song as the guiding thread. This journey takes us through various forms of the glacier's voice, both in its raw and completely transformed states.

-A question that I always ask myself when I listen to field recordings or compositions based on field recordings and understanding that it is a totally personal decision. I think that is precisely where the interesting thing lies, since it is what the listeners are going to hear, your vision or in this case, your audition.

How to choose what to use, which fragments to take and which to discard?

A: It's not an easy question to answer. It takes time to re-listen, sort, and mark the interesting elements. The process of sifting through these hours of recordings is lengthy, but it also allows me to immerse myself once again in that unique moment and reminisce about the time spent in the heart of this imposing ice structure.

During this review, I immediately eliminate recordings that have too much background noise, evident manipulation artifacts, or any recording errors that do not contribute to the project. Once I have become well acquainted with the usable sounds, I then need to decide on an artistic direction to follow. A significant portion of these sounds has already been used for the album.

It's crucial not to force the use of a sound just for the sake of including it. The most important thing is that each element serves the music harmoniously. The goal is to create a seamless blend of glacier sounds and musical elements that flow together naturally.

-Please share with us what equipment and tools you used both for the recordings and for producing the tracks.

A: In the glacier, I used a pair of hydrophones and contact microphones, the "Cjossul" model by Organic Audio, in "Eurorack" format, specially adapted to work with my modular synthesizer. This setup provided me with great flexibility for usage and experimentation. I also used a portable digital recorder, the Zoom-H6, with an additional SSH-6 Supercardioid capsule. These initial elements allowed me to capture the sounds of the glacier and ice in general.

For the composition process, I relied on several key instruments. The Synthstrom Audio Deluge served as both a sequencer and a sampler, while the Polyend Medusa acted as an analog/digital synthesizer. My modular synthesizer consisted of two modules, the Rangoon, and Mansoon by Big T Music LTD, which were essential for real-time synthesis of the glacier sounds. I also used the OCHD module by Divkid/Instruo for modulation, and the Empress Effects Zoia Euroburo, which served as a pre-amplifier for the "Cjossul" microphones, a generative sequencer, and an effects processor-a true multitool in my setup.

To complement my setup, I included the French brand Collision Devices' "Nocturnal" effect pedal for creating ambient synth parts. And of course, batteries and power cables like the "Ripcords" by Myvolts to ensure the seamless functioning of all the equipment.

-I understand that your idea is to go beyond the merely musical, in some way provide information and raise awareness about the fragility of these places and the importance of protecting them.

What is your position on climate change issues? 

A: That's a very interesting and also challenging question, ahaha. My position on climate change is, of course, that urgent action is needed. This is not a new issue; scientists have been warning about it for decades. Climate change is a complex and multifaceted subject that demands our utmost attention, both collectively and individually. Governments and international organizations must take significant measures to reduce the impact we have on our planet.

-Do you think that artists, especially artists from the ambient community, have some kind of social responsibility on these issues?

A: I would even say that Art and consequently all artists have a responsibility regarding this issue. I believe it is essential to use the tools at our disposal to continue raising awareness and informing others. My personal message in all of this is that we cannot demand that everyone acts the same way; it would be unfair. Not everyone has equal access to resources to fight against climate change. An hourly worker on minimum wage cannot invest in the same way as a CEO of a company.

If someone wants to take action, I believe they should start by researching local initiatives and finding a small association that cleans up waste in nearby rivers or along roadsides, or any other ecological solution. If there is no existing initiative, why not start a small collective and take action locally and punctually? In short, making efforts that correspond to our available resources. Any small action can have a significant impact.

The fight against climate change requires collective action, and each person can play a role within their means. It's not about comparing individual efforts but rather recognizing the importance of every contribution, big or small. By combining our actions and using our unique skills as artists or individuals, we can create a more substantial and meaningful impact in the fight against climate change.

-Do you plan to continue in this "conceptual" line of producing albums based on field recordings, going to record in other places to compose?

A: Yes, I plan to continue in this direction because I truly enjoy it. I believe I have found my voice in this type of project, which combines field recording and live composition in extraordinary natural settings. I am already working on the next project, although I cannot reveal details at this moment as nothing is finalized yet. It will require even more effort to bring it to life. I don't want to disappoint my listeners by announcing an ambitious project that might not come to fruition due to lack of funding.

-Do you have performances planned? I think a concert in which the images and videos recorded by your team are projected as visuals would be great.

A: I potentially have upcoming tour dates. As I write these lines, there are still some things to confirm. I'm eager to enhance the immersive aspect of my live performances by incorporating projected videos from the footage we captured at the glacier or the IRAM millimeter observatory.

However, making this project a reality will require careful planning and coordination. Integrating video projections into live performances involves technical considerations such as syncing the visuals with the music and ensuring smooth transitions. Additionally, there may be logistical challenges related to equipment, venue compatibility, and travel arrangements.

-Clearly you find inspiration to compose in these types of landscapes and places, like the observatory. 

What other things inspire you when it comes to creating music and in life in general?

A: When it comes to composing, I rarely start from a blank canvas. I enjoy translating concepts and ideas that I have in mind into music. For instance, my first album, "Music For Liminal Spaces," was composed based on its title. Even before creating the individual tracks, I already knew precisely what the album would be about, its visual representation, and the overall universe it would encompass. From there, it becomes a journey of musical exploration, and the pieces come together effortlessly.

This method of composing is my go-to and one that completely suits me. Having a clear concept or theme as a starting point provides a strong foundation for the creative process. It gives me a sense of direction and purpose, guiding the musical decisions I make throughout the composition.

Of course, this process of musical exploration may also lead to unexpected discoveries and moments of inspiration. As the pieces come together, they may take on new dimensions or reveal different facets of the original concept. This adds depth and richness to the overall composition, making it an exciting and fulfilling creative journey. Ultimately, this method of composing enables me to craft music that is not only musically engaging but also carries a strong sense of meaning and intention. Each composition becomes a reflection of the concept or idea that inspired it, inviting listeners on a transformative and immersive musical experience.

-What music have you currently listening to, is there anything you find particularly good or special?

A: Lately, I have been heavily listening to Craven Faults, and I am fascinated by the balance in his tracks and the hypnotic repetitions that emanate from the music. One album that recently captivated me is "Tevenec" by MOLECULE (whom I deeply respect and admire, as he is the artist who inspired me to create music outdoors and push my limits). "Tevenec" is a true UFO, blending elements of Techno and pure sound experimentation. It is a resounding success, and I highly recommend discovering the fascinating story behind the recording of this album, as well as his other works.

Rival Consoles is also among my regular listens, as well as "SEEKER" by Carbon Based Lifeforms, which I discovered more recently. These artists have had a tremendous influence on my approach to composition on my new album "Le Chant de la Glace".

-Dear Aurélien, I really appreciate the time you took for this interview, I know you must be very busy right now. And I appreciate you sharing a little about yourself with us.

Do you have any comments or something else that you would like to share with us?

A: First of all, a huge thank you for this interview! I am thrilled to be able to talk about music in general and especially about my somewhat unusual projects. I am very eager and excited to share all of this with the public. 

It will be available in a very limited edition on transparent blue vinyl, only 100 copies, and will contain exclusive content inside, such as bonus videos and music that will never be published elsewhere. Available for pre-order exclusively on DIGGERS FACTORY, an international distributor, so anyone can order it from anywhere in the world without restrictions, which is truly fantastic.

Moreover, I encourage everyone to follow me on social media to stay up-to-date with my latest news and crazy adventures.

Cheers!