WBM: How did you create your albums, Alpha Centauri and Rigel? Do you solely rely on a synthesizer, or do you mix live recording with synthesized sound?
GEORGE: My music is about fifty percent electronic and fifty percent instrumental, so it is a blend of physical instruments and electronic sounds. I use samples of choirs and vocals but generally every kind of sound can be used and blend pretty well in electronic music. That is the beauty of it!
WBM: The track “Alpha Centauri”, from the album of the same name, includes some vocals towards the end. Have you considered pairing your music with lyrics? Do you explore vocals more throughout your work?
GEORGE: Many tracks from my latest album, Rigel, include vocals. “Alpha Centauri” was the first track on which I tried to add new sounds and voices. Rigel is the evolution of my previous album, Alpha Centauri.
WBM: Have you composed for film, or do you have any ideas of what you would like to do in this realm?
GEORGE: Film scoring is my dream. I have not tried that yet but hopefully that moment will come one day!
WBM:In collaboration with DSBEniX Studios, you released a soundtrack entitled Xymphonia. Tell us about this unique album.
GEORGE: Ximphonia’s soundtrack is something like a musical companion to the original comic books. I have created the themes for some of the characters and scenes. Ximphonia does not follow the path of my other two albums; it is more symphonic than electronic, but quite dark.
WBM: How did you come to compose music for DSBEniX Studios? How did you find them?
GEORGE: They found me! That is where internet helped! Scott Bedford, Ximphonia’s creator listened to my work and wanted to try and do something together and see what I would come up with for his story.
WBM: If someone wants to compose music for video games or film, what can you suggest as the most important things to do or consider?
GEORGE: Understanding what the director wants the audience to feel. A composer enhances the overall experience but in order to do that he must be one hundred percent on the same page with the director.
WBM: What is necessary for symphonic music to remain fresh in the future? How does it have to evolve?
GEORGE: I think symphonic music can be enhanced with today’s technology. I mean synthesizers. I wouldn’t be surprised if operas in 10-20 years from now are fifty percent classical and fifty percent electronic instruments.
Watch the video for “Creation” off of the album Rigel:
WBM: You’ve named both albums, Alpha Centauri and Rigel, after stars. This implies an extraterrestrial Muse. In what way do you find personal connection with astronomy?
GEORGE: You just have to look up, and… it is all there! I see nothing more than you do–a beautiful starry night. I just try to express those feelings through music.
WBM: Tell us about why you have chosen particular names for your tracks, whether they be names of celestial bodies, like “Perseids”, or sporadic Latin, like “Ad Aeternum”.
GEORGE: Each track tells a different story. “Ad Aeternum” (To Eternity), for example, is in memory of Blix, my first pet. “Alpha Centauri” is the brightest star in the constellation of Centaurus and I wanted to express the light, the brightness, in comparison to absolute darkness.
WBM: And then, of course, there’s “Medusa Cascade” off of Doctor Who…
GEORGE: Oops… caught me!
WBM: It’s a difficult and broad question to ask, but how do you choose to relate to the universe?
GEORGE: “All men have stars, but they are not the same things for different people. For some, who are travelers, the stars are guides. For others they are no more than little lights in the sky. For others, who are scholars, they are problems… But all these stars are silent. You-You alone will have stars as no one else has them… In one of the stars I shall be living. In one of them I shall be laughing. And so it will be as if all the stars will be laughing when you look at the sky at night..You, only you, will have stars that can laugh! And when your sorrow is comforted (time soothes all sorrows) you will be content that you have known me… You will always be my friend. You will want to laugh with me. And you will sometimes open your window, so, for that pleasure… It will be as if, in place of the stars, I had given you a great number of little bells that knew how to laugh.”
-Antoine de Saint-Exupéry, The Little Prince.
WBM: Particularly with symphonic music, we’ve been imagining cosmic landscapes with our instruments, but projects like these allow satellites to transmit very real data from space. How do you think composers like yourself may be able to use these sounds in your work?
GEORGE: I suppose their use is quite limited to sound effects and ambient sounds.
WBM: In what unusual directions do you hope to push your music as you progress?
GEORGE: As long as technology evolves, and especially technology included in synthesizers, what now may seem “unusual” will be the future in music. For my music specifically, an opera created for a full orchestra, choir and synthesizers.
WBM: Tell us about someone you view to be a personal cornerstone in learning about your genre.
GEORGE: Vangelis. He is a real master of electronic music.
WBM: What projects are you working on now, and where do you see your creative journey eventually taking you?
GEORGE: My next project is quite different from the albums I have composed so far. I am planning to create an album with songs. I have used vocals for my music and choirs but I am looking for the next step, and that is human voice, and lyrics on an electronic/instrumental base. Making music does not always end up the way you originally planned and that is a funny part to it. Many new melodies have been created simply by playing something wrong or just by merely touching the piano keys without order.
(Top image of baby stars being born in the Orion constellation via the Spitzer Telescope, NASA)
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