Exclusive Interview: EgoB
Roeland Verhaeren, who goes by EgoB is a Belgian musician who was partially inspired by David Bowie. Among his many and varied musical pursuits, EgoB has made several Bowie covers, which is how I discovered his work. I featured his covers of “Survive” and “The Prettiest Star” as two separate “covers of the week,” and you can find more of his work on his own web site (click on the bolded words to link to what they reference). If you do visit his website, you’ll be in for a treat. I have found myself listening to his original music, which I would describe as ambient electronic music, even more than his Bowie covers. EgoB also does music for commercials and has a section on his site titled “proof of consepts” featuring links to several of his commercials. Normally, I don’t think much about music for commercials, but I watched a few in preparation for this interview and suddenly it become much clearer to me how the music helps communicate the message. Watch, for instance, the commercial for Kia (click to link), which in a little more than 30 seconds marries visuals of robots with EgoB’s electronic music to deliver the message that these cars are high tech. It all makes sense and is an incredibly economical use of words, sounds and images to communicate more information than any one of those elements can do on their own. Anyway, here’s the interview:
Q. Most of your Bowie covers are of his later songs, what draws your particular interest in that direction?
A. I’m particularly drawn to David Bowie’s later works because they showcase his evolution as an artist, featuring more complex compositions and profound themes. His ability to reinvent himself and explore new musical territories even in his later years is both inspiring and challenging, offering a richer palette for interpretation.
Q. In particular you cover at least two songs from “hours…” which I remember not liking so much when it came out, but I find myself liking more and more as I get older. Do you think Bowie decided that Earthling would be his last album aimed at a younger audience and “hours…” would be the start of him tackling middle age in his music?
A. I appreciate how it marks a shift in his musical journey, embracing themes of introspection and maturity. It seems Bowie consciously transitioned from the vibrant, youth-oriented energy of Earthling to a more reflective and nuanced exploration in “hours…” This evolution resonates with me, as it offers a deeper, more textured canvas for interpretation and performance, reflecting the natural progression of life and art.
Q. I hear an echo of Bowie in some of your original music, for instance “Copper Thing” sounds like it could have been on The Buddha of Suburbia. How did Bowie’s music influence your creative process?
A. I consider that a huge compliment, thank you! Much like Bruce Lee’s philosophy of learning from all styles without being bound by any, my creative process is a mosaic of influences from everything I see, hear, and experience. Bowie’s innovative approach has been a significant influence, encouraging me to blend diverse musical elements and narratives in my own compositions, such as “Copper Thing.”
Q. You use distortion both in your vocal and visual effects— is there a message in that?
A. Using distortion in both vocal and visual elements of my work is a deliberate choice to convey the complexities and layers of human emotions and experiences. It reflects the imperfections and rawness of life, emphasizing that beauty and depth often lie in the nuances and ‘distorted’ aspects of our stories. This artistic choice serves as a metaphor for looking beyond the surface, encouraging a deeper engagement with the music and its underlying themes.
Q. You write music for commercials— can commercials be works of art? How do you approach creating music that complements visual content?
A. Absolutely, commercials can be works of art. They are a unique blend of visual storytelling and music, where every second counts. When creating music for commercials, I approach it as a collaborative process, aiming to enhance the narrative and evoke the intended emotions. It’s about finding the right balance and rhythm to complement the visual content, ensuring that the music contributes to the overall impact and message of the commercial, making it memorable and impactful.
Q. What’s your approach to incorporating technology into your ambient music compositions? In the realm of ambient music, how do you balance creating immersive soundscapes with incorporating technological elements without overpowering the musical experience?
A. In my ambient music compositions (which a mostly create for sync), I see technology as a tool to expand the palette of sounds and textures, enhancing the immersive quality of the soundscapes. My approach is to use technological elements “subtly”, weaving them into the fabric of the music to enrich the atmosphere without too often overwhelming the listener. The balance comes from carefully selecting and manipulating sounds that complement the organic elements of the composition, ensuring that the technology serves the music and enhances the listening experience, rather than dominating it.
Q. What do you mean by, “where melody meets meaning?”
A. “Where melody meets meaning” in an instrumental context signifies crafting compositions where the melodies themselves convey emotion and narrative, even without lyrics. Each note and chord progression is carefully chosen to evoke feelings and tell a story, allowing listeners to embark on a journey and find their own interpretations within the music’s textures and dynamics.
Q. What are the threads that tie together your diverse musical pursuits, from commercial compositions to ambient and Bowie covers?
A. The common threads in my diverse musical pursuits are innovation, emotional expression, and a commitment to artistic integrity. Whether I’m composing for commercials, creating ambient music, or covering Bowie songs, I strive to infuse each piece with creativity, convey a spectrum of emotions, and maintain a high standard of artistry.
Q. What’s your favorite Bowie song and album?
A. For the moment my favorite Bowie song is “Dead Man Walking” from the album Earthling. This track, with its blend of electronic, rock, and ambient elements, showcases Bowie’s adventurous spirit and his ability to seamlessly merge genres. Earthling as an album represents a period of bold experimentation and innovation, which deeply resonates with my own approach to music-making.
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I want to thank EgoB for granting me this interview and thank him even more for making his music! I have a feeling this won’t be the last time his work will be featured on this blog.