Thorsten Soltau

A reflection.  
I describe myself as a listening person – I am constantly listening to and into my surroundings. This has led to a refined sense: 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 have 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 reached through multiple listening. Each work exposes itself over time with each deliberate playback/perception.

Repetition serves as a reward for the listener.

On sounds.
My compositions are either electronic or electro-acoustic. A common sound used is the human voice, instrument loops or sections of complex synthesis. My source material is carefully chosen. The starting elements must have the desired mood and intensity to be later formulated into full compositions. However, I am open to developments through experimentation or error.

An important factor is randomness. Sounds or factors that manipulate sounds are mapped onto random forces, allowing for unexpected results. Some of my composing techniques are deliberately executed against their primary intention. This allows for a constantly changing character of my works.

On sonic morphosis. 
My compositional ethic has strong ties to morphosis. In order to reflect different degrees of sonic shifting/transformation/transition, I use various techniques and methods. The use of complex treatments and random factors allows the sound to constantly shape and shift. The sounds I create are also subject to imperfection and conceptual error – 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 obvious and less obvious concepts. Often 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 the works can be seen as intimate and highly personal sonic artefacts.

Conception can be seen as the basis of each work, without outweighing the listener’s experience. However, each of my pieces can be heard explicitly as a composition in its own right.