We are excited to premiere Brad Walsh’s ANTIGLOT film, the visual accompaniment to his dynamic album. For the film, Walsh teamed up with The Orsano Project; the result, an extraordinary sonic and visual experience. Watch the film and read our conversation with Walsh about ANTIGLOT below.
DRØME: While you were writing and recording Antiglot, did you treat the album as a visual entity, or did the visual aspect of the music come later?
Brad Walsh: Antiglot wasn't visual at all to me. Its audio layers are so strongly the point of it that I never even wanted to do a music video for any of the songs. But when Christian and I were discussing a release party, I had the idea to have dancers perform the album rather than myself, because it's so difficult to perform live. So we sought out and found The Orsano Project, who learned the entire thing in just a couple of weeks.
How involved were you in the choreographic process? Tell us about the process and how you chose to work with The Orsano Project.
I only saw it for the first time the night before the filmed performance! They handled it completely. My only instruction was that they would perform the album from start to finish. What Phil and his team did was absolutely incredible.
Are you a dancer yourself? How does movement work its way into your life?
I am not a trained dancer but I love to dance. I actually warm up my vocals with body movement. Exercising and getting your lungs working and your muscles moving is a really effective way to get your voice to where it needs to be for recording. Of course vocal exercises are as well, but I find I record my best vocals after a lot of movement.
How has your understanding of the music changed since incorporating dance into the narrative?
I now see some of the dances when I listen to the album. Their work has become part of the project that cannot be unlinked. It is really exciting to watch, still.
Is your recording process as brilliantly innovative as the music itself?
For this album I started recording the instrumental sounds vocally, and when I layered the vocal recordings I felt, maybe this is good just how it is? And then it sprawled into an entire album of vocal-only, lyricless music. A lot of it was recorded with my iPhone, which was a first for me. I used a high end portable mic that adaptor-connected into my phone, record dry vocals with Voice Memo or Garage Band, and import and use the vocal recordings in my desktop production software. It was a very on-the-fly and analog sort of way to work, which was new for me, but it let me get more of my ideas down quickly, which worked out for the better of the music in the end.
The precursor to the film, the ANTIGLOT live dance performance, was so beautiful and dynamic. You had such an incredible crowd come out to support you. How has your creative community has grown since the start of your music career?
I am SO lucky to be surrounded by talented artists, whether they're actors or singers or painters, and we all inspire each other constantly, we all come out to support each other. It can be hard, being a creative person who puts work out into the world, because you don't always get the amount or the type of feedback you're looking for. But when other creative people hear and really get my music, when they have insight to offer and really understand what I'm doing, that's a really great feeling.
In the making of DRØME we hope to showcase a community of doers and nourish an attitude of empathy in a world that teaches us to pass judgment rather than practice kindness. The stories, images, and people shared in this magazine are an amalgamation of perspectives often overlooked or explicitly excluded from art and media worlds. The dearth of diverse identities and viewpoints within the arts is harrowing, especially for a young generation that is fighting its hardest to overcome conservative notions of order ultimately practiced as acts of discrimination against the very people and things we find most inspiring. In DRØME, the featured creators and creations encourage us to never shy away from who we are and what we want. Each artist, in sharing their story, embodies their own definition of agency. Against a mainstream ideology that indoctrinates patriarchal, capitalist, and hateful theories turned into policy, the artists in our first issue represent the ways in which art can take power back from society's denigrating control.