Samarah grew up in Fond du Lac and was introduced to the electronic/rave scene in her junior year of highschool. She developed the technical skills to make her own electronic music through hours of experimentation and begain playing out about three years ago. Her lovely voice is reminiscent of Beth Gibbons of Portishead. She's cool but accessible, with alluring vocals and electronic soundscapes that are subdued but soothingly listenable. If Neitzshe were alive he might dub her (no pun intended) "the perfect female sound"; or had 2001: A Space Odyssey predicted the future of music, her style could have been the prototype. You can sample for yourself and check for future shows at www.samarahspace.com
RICKS CAFE: You have played in many creative areas through your life, what are some of the mediums you have covered? Are there any connections among the different areas of expression?
SAMARAH: I have been immersed in art and music my whole life and at times it can be hard to balance both pursuits because I’m so passionate about both and they consume so much time. There is a strong, undeniable connection between art and music and I absorb images and sounds that inspire me and rearrange them into patterns and rhythms or lines and shapes. I have always seen the world as both a beautiful pallet of colors and sounds. Music, like art, is a universal language and I create music much the same way one creates art; building on a simple idea until it manifests itself into a completed piece that you can sit back and take in whole.
RC:What is unique about Samarah’s sound?
S: I think my style reflects my diverse background in music and the fact that I’m always trying to push the limits. My music is an atmospheric blend of experimental, IDM (intelligent dance music) and downtempo. Writing in an electronic format can lend itself to repetitiveness and I try to stay away from that, always taking things one step further by trying new things and techniques. During my live sets I’m always adding improvised piano pieces or vocal effects or even creating and tweaking new sounds as I go.
RC:For the tech geeks, tell us details about the gear and programs that are used to create Samarah’s sound?
S: I have used a lot of different gear and programs but essentially I always have a 76-key synthesizer, effects processor, microphone and laptop as my basic studio pieces and add gear here and there. My first keyboard was actually a Yamaha VSS-30 that I got for Christmas in the 80’s and I still use it because of it’s unique sounds, sampling and editing features. I love full, vintage sounds and have interest in circuit bending. Found sounds are great, sampling something like a music box or people talking can make hours of enjoyment and a dozen new sounds. The programs I have used are Sound Forge, ACID, Fruity Loops, tracking programs and have recently gotten into Ableton.
RC:You are starting up a more traditional project, how is it different from the electronic music you currently produce?
S: Even though my music is dubbed electronic, I actually listen to rock, indie and trip hop more. Some of my favs are Pixies, PJ Harvey, Massive Attack, Jane’s Addiction and The Beatles. Of course I’m also a fan of essential electronic artists like Aphex Twin, Bjork, Autechure and composers like Angelo Badalamenti. I’m always trying to push myself and find new ground and wanted to use more traditional instruments and lyrical arrangements but still inject electronic elements. I recently teamed up with a bassist and guitarist to form our band “Stella Magenta” and like the path we’re heading down. Right now we’re still in the song-writing process and will start playing around town this spring. I plan on still performing solo as well as with the band. Stella Magenta’s sound is less glitchy and has more of a trip hop aesthetic with raw bass lines and dubby guitar.
RC:What influenced you to go in the directions you have with your creative projects?
S: I actually
come from a background of playing piano and studying music theory when I was
young so that’s where my passion for composition comes from and eventually
fronted a few garage bands in high school, playing my first bar gig when I was
fifteen. I kept up with the band thing for a couple years and after graduating
moved to Madison to go to school for Graphic Design. I started going to raves
more and was inspired by the new sounds constantly coming out and decided to
go in a different direction musically.
I was infatuated with the limitless possibilities of production software and
the capabilities of electronic equipment. My new project with Stella Magenta
is an effort to come back to a middle ground where I can have opportunity to
create music with live musicians and have more room for creative spontaneity.
RC:Is Madison a good place to work on the projects you like? What venues and people support your projects?
S: Madison has a pretty concentrated electronic scene and has been supportive of my music. Shortly after I moved here I teamed up with some other people to put on a weekly experimental and ambient night called “Phluid Motions”. We hosted it at the old Speed Jump Café and then moved it to The Blue Fin later on. After about six months I didn’t have enough time to commit to the promotion and production of it because of school and eventually let the project go. I did meet a lot of other like-minded producers and DJ’s while doing it and had a blast. Since then I’ve played at places like The Inferno, King Club and Café Montmartre as well as out-of-town venues like 7th Street Entry in Minneapolis, and venues in Milwaukee and Eau Claire. I’m hoping to set up a mini-tour this summer, heading back to Minneapolis and down to Chicago. I’m looking forward to playing new local venues with “Stella Magenta” and getting my feet wet in the rock scene.
RC:Aren’t you one of the only females producing electronic music in Madison? Any theories why?
S: I think I’m
the most visible female in town that produces electronic music and gigs out
regularly but I know of a couple others that are starting to dabble in it and
creating some great sounds. I don’t really like emphasizing gender in
music because it just adds to the separation. I’ve had the honor of receiving
emails and comments from girls at my shows saying that I’ve inspired them
to start producing and I think that’s great. Sometimes I think girls tend
to shy away from producing because they aren’t confident they can dive
into the technicalities behind it…kind of the same way that they think
boys are better at fixing junk, and it’s a shame. In the end I firmly
believe that male or female, it’s about the passion and talent and you
either have it or you don’t.