{"id":11633,"date":"2016-10-24T05:30:23","date_gmt":"2016-10-24T09:30:23","guid":{"rendered":"http:\/\/blog.musoscribe.com\/?p=11633"},"modified":"2016-10-27T08:26:41","modified_gmt":"2016-10-27T12:26:41","slug":"conjure-ones-emotional-electronica","status":"publish","type":"post","link":"http:\/\/blog.musoscribe.com\/index.php\/2016\/10\/24\/conjure-ones-emotional-electronica\/","title":{"rendered":"Conjure One’s Emotional Electronica"},"content":{"rendered":"

Though he initially made his name as part of industrial band Front Line Assembly<\/strong> and as a producer of other artists, these days Vancouver-born Rhys Fulber makes<\/strong> highly melodic electronic music under the name Conjure One<\/strong>. Though his other work is sonically aggressive and dance-oriented, \u201cthat’s not the kind of music [Conjure One] is, not at all.\u201d and he acknowledges that some fans of his earlier work \u201cdon’t even like\u201d the music he makes now.<\/p>\n

With Conjure One, Fulber focuses on melody and emotion. \u201cI love electronic music; I always have,\u201d he says. \u201cAnd I do love a lot of elements of dance music, but the things that I really enjoy are songs, songwriting and melodies.\u201d He wants his musical creations to still sound good years from now. \u201cI’m trying to make music that’s not gonna sound old. I think that by working out melodies \u2013 and also putting a lot of emotion into the music \u2013 it’s something that can still hold up.\u201d<\/p>\n

\"conjure_one_01\"<\/p>\n

Although the instrumental makeup of Conjure One’s music \u2013 as showcased on four albums including 2015’s Holoscenic<\/i> \u2013 focuses on synthesizers, the songs themselves are generally composed and developed on acoustic instruments. \u201cMy goal, when I make music, is to make something that could be played on a piano or an acoustic guitar,\u201d Fulber explains. He tries to create \u201csomething that would hold up outside of the bells and whistles of electronic music. That’s my main thing; when I put a song together, it’s usually just worked out on a piano. And then when it sounds like a song, then<\/i> I make it electronic.\u201d<\/p>\n

Fulber was immersed in music from an early age; his dad played in a punk band and ran a recording studio. He discovered electronic music, and was drawn into the expressive pop soundscapes of Orchestral Manoeuvres in the Dark<\/strong>. \u201cI loved all those early records,\u201d says Fulber, \u201cthe way that they were experimental but still poppy. Those were very formative records for me when I first started.\u201d He also was captivated by the music of French synthesist Jean-Michel Jarre<\/strong>.<\/p>\n

And though he started out as a drummer (\u201cjazz drumming was my thing\u201d), everything changed when Fulber got his first synthesizer. \u201cI love electronic music just by virtue of the sound,\u201d he says. \u201cAnd I always thought electronic music was \u2013 or had the possibility to be \u2013 emotional.\u201d He notes that most film scores are built upon an electronic foundation. \u201cThey can have a lot of emotional power.\u201d From the beginning of his work in electronic music, Fulber worked on analog machines like his first keyboard (a Roland Juno 106), as well as legendary synthesizers like the Sequential Circuits Pro-One and the Minimoog.<\/p>\n