AUDIOVISUAL
AUDIOVISUAL WORK, SHOWREEL 2022
AUDIOVISUAL APPROACH
DANIEL LEA’S APPROACH BEGINS WITH THE BUILDING OF CONCEPTUAL WORLDS. OFTEN VISUAL AND WITH NARRATIVE IMPULSE. THEMES AND AESTHETIC GUIDELINES INFLUENCED BY ATMOSPHERE, TEXTURE, LIGHT AND SPATIAL SOUNDS ARE FLESHED OUT AND FIND INITIAL FORM IN THE SHAPE OF AURAL MOTIFS BORN FROM EXPERIMENTING WITH PALETTES OF SOUND BEFORE BEING LAYERED INTO COMPOSITIONAL SHAPE.
THESE PALETTES OF SOUND AND TEXTURES ARE FIRST HARVESTED FROM A HUGE ARRAY OF ANALOG AND DIGITAL SYNTHESIZERS AND ELECTRONICS AS WELL AS THE TECHNICALLY UNORTHODOX RECORDING OF NOVEL INSTRUMENTATION PLAYED BY VIRTUOSO MUSICIANS VIA A REVOLVING DOOR OF GUEST SESSIONS.
RECORDINGS ARE FURTHER DECONSTRUCTED, SCULPTED AND LAYERED THROUGH AN ARRAY OF ANALOG AND DIGITAL PROCESSING, RE-AMPING AND RE-PROCESSING BEFORE MORPHING INTO THE FINAL BUILDING BLOCKS OF THE PIECE. COMPOSITION BY WAY OF SOUND DESIGN. OFTEN HARMONIC IN FORM WITH PUNCTUATIONS OF FRAGMENTED SHARDS.
DANIEL IS A SELF TAUGHT COMPOSER AND SOUND DESIGNER WHO HAS WHAT SOME MIGHT SAY AN UNHEALTHY OBSESSION WITH CINEMA. EIGHT YEARS WORKING IN AN INDEPENDENT AND RAREFIED FILM STORE RELENTLESSLY EXPLORING THE BODIES OF WORK OF CULT DIRECTORS IN EVERY GENRE, SPECIFICALLY SCI-FI, NOIR, B-NOIR, HORROR, SILENT FILM, THRILLERS, EXPERIMENTAL, NEW HOLLYWOOD AND JAPANESE BODY HORROR HAS NOT ONLY INFLUENCED HIS SONIC UNIVERSE AND INFORMED HIS PRACTICE BUT HAS ALSO ARMED HIM WITH A SPECIFIC APPROACH THAT ALMOST ALWAYS BEGINS WITH THE VISUAL.
HIS STUDIO, BASED IN LOS ANGELES, HOUSED INSIDE HIS VERY OWN VHS ERA VIDEO SHOP, FEATURES A HUGE COLLECTION OF ANALOG AND MODULAR SYNTHESIZERS AND ANALOG EFFECTS AND OUTBOARD PROCESSING AND PLAYS HOST TO HIS GUEST RECORDING SESSIONS OF MUSICIANS THAT INCLUDE YAIR ELAZAR GLOTMAN (JÓHANN JÓHANNSSON), LEO ABRAHAMS (BRIAN ENO), BJ MILLER (HEALTH) AND STEVE MOORE (ZOMBI) TO NAME A FEW.
