Photography (right) by Astrid Susanne Schulz
A reflection.
I describe myself as a listening person – I am constantly listening to and into my surroundings. This has led to a refined sensibility: I am able to pick up on things that others might miss. My ears are trained to scan the places I visit – crowded metropolises, remote places in nature, or familiar surroundings.
My way of listening can be divided into two modes:
a) the perception of sound on an unconscious level, and
b) the conscious focus on sound.
Becoming a kind of scanning antenna has had a profound effect on the way I compose. The experience of listening is reflected in my sound works.
Several of my compositions contain almost imperceptible overdubs. They can only be heard at certain loudness and spatial settings (but are easily recognisable with headphones). Another example is the creation of dense clusters of sound that resemble streams of information or (over)crowded places.
My aim is to create rich sounds with layers that can only be discovered through repeated listening. Each work reveals itself over time with every deliberate playback and perception.
Repetition serves as a reward for the listener.
On sounds.
My compositions are either electronic or electro-acoustic. Common sound sources include the human voice, instrument loops, or sections of complex synthesis. My source material is carefully chosen.
The initial elements must carry the desired mood and intensity in order to be later shaped into full compositions. However, I remain open to developments through experimentation or error.
An important factor is randomness. Sounds, or parameters that manipulate them, are mapped onto random forces, allowing for unexpected results.
Some of my composing techniques are deliberately executed against their primary intention. This allows the character of my works to remain in constant flux.
On sonic morphosis.
My compositional ethic has strong ties to morphosis. In order to reflect different degrees of sonic shifting, transformation, and transition, I employ various techniques and methods.
The use of complex treatments and random factors allows the sound to constantly reshape and transform.
The sounds I create are also subject to imperfection and conceptual error – much like the body and mind aging and perishing over time.
On concepts.
My solo work has always been underlined by specific reasons for its creation. My canon includes albums with both obvious and less obvious concepts.
Often, these works can be seen as cornerstones of things I was researching at the time of their creation. Several compositions reflect situations from my personal life.
In this way, all of the works can be regarded as intimate and highly personal sonic artefacts.
Conception can be seen as the basis of each work, without outweighing the listener’s experience. Nevertheless, each piece can also be heard explicitly as a composition in its own right.
Short biography
Working in the field of sound design, electroacoustics and Neuer Musik since 2005.
Special interests are sonic disintegration, conceptualism and dualism.
Thorsten Soltau is a citizen of the micronation KREV * (KonungaRikena Elgaland-Vargaland). He resides and works in Friesland, Lower Saxony.
Thorsten Soltau is also part of the musical groups Erstes Internationales Eierschneider Orchester (ESO, w/ Harry Köster and Daniel Penschuck), Trance Industrial Toy Orchestra (TI*TO, w/ Daniel Penschuck) and Chanteclin ɛt Chantecler (w/ Max Kuiper).
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* KREV is a conceptual art project conceived and developed by Swedish artists Carl Michael von Hausswolff and Leif Elggren.