** (Update 8 December 2021 : I wrote a piece about recent events that have circulated about The Outlaw Ocean Music Project. Read it here.) **
Roger Molls was one of the more thought-provoking artists to have taken part in The Outlaw Ocean Music Project. His fluid melodies really struck a chord with me and I was taken aback by his adaptation of the footage. His track, Fluid Borders was a top three pick from my top twenty countdown this week. I caught up with Roger to ask him about the origins of the song itself.
Molls not only based his compositions on Ian Urbina’s footage, he pays tribute to the great composer John Barry at the same time. He absolutely nailed it!
Make sure to listen to the track whilst reading the interview for the best experience.
The Interview
Why did you get involved in the ‘The Outlaw Ocean Music Project’ to begin?
By following the proposition of journalist, Ian Urbina, who liked my work. I took some time before I started, to immerse myself completely in his book and submerge into it’s universe. A world that I was previously unaware of.
I found the concept of a musical adaptation of a report/book to be both very original and very stimulating.
Was this project challenging from a creative standpoint? Did you find it hard incorporating Ian Urbina’s Footage into the music?
At first, I have to admit I had a hard time getting started. My musical universe is always linked to a visual universe. I’m a filmmaker and composer. So, it was thanks to the few short videos Ian sent me that allowed me to start the process. I did the video editing and the musical composition at the same time. It was after the first 3 songs composed and therefore the three video clips that I had made at the same time, that Ian gave me more video sequences to finally go from a 5-track EP to a 10-track album.
I love your use of the harpsichord – ‘Fluid Borders’ is my favourite song from the album – What sounds from the project did you use for this song?
I barely used any sound from the project for this track, only Ian’s voice saying “the ocean is as large as it is small…”
What really guided me in this piece, beyond the chapter of Ian’s book, is my great admiration for the composer John Barry.
Using retro piano sounds, the harpsichord, and through the ambience I wanted to bring into the piece, I modestly wanted to give a little nod to one of my favorite songs, “The Persuaders”. Obviously from John Barry.
Could you briefly explain the instruments and music technology you used to create ‘Fluid Borders’
I used a pretty cheap and retro piano sound, which I created with my favorite keyboard, the korg SV-1, and which I played in a wobbly, shaky way. The drums are a mix between a rather jazzy and wobbly loop, and a very precise and steadfast hip-hop rhythm. Then I used a bass and synths from my 2nd favorite keyboard, the Korg MS2000.
Everything has been composed in my home-studio. The main idea was to play on the contrast between the fluid and vacillating aspect of the sea and the well-defined and closed side of a border.
Listen to the full Album here:
Visit the official website of The Outlaw Ocean Music Project – HERE
About ‘The Sound Sniffer’
The Sound Sniffer is a one-man music blog which is still only a baby – Founded and run by Kevin Coakley in early 2019. He is a music writer and ghostwriter. ‘The Sound Sniffer’ also runs gigs and showcases in London since Oct 2019. The showcases are picked from artists I find in my submissions inbox.
Check out my Interviews HERE
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