I grew up at war with the rest of the world.
Years later, I still fight the same battle.
For me making music has always been about finding hidden lumps of pain, lighting fire to them and watching them disperse into the ether…
WEIGHTLESS/SINKING is the sonic representation of one of the most confusing periods of my life: I was simultaneously getting to grips with how much I had suffered from / attempted to forget the fact that one of my parents is a double cancer survivor, helping my family move out of my childhood home and trying to find my place in the mind-boggling metropolis that is London. I thought that the paradox of feeling like I was weightless yet at the same time sinking perfectly described the emotional soup I was in.
(I’m) a sparrow’s feather
on a lake: weightless/sinking
Much of my childhood is hazy in my memory because of its ever-shifting nature. The one thing that I can still recall with rather unhindered detail is finding my voice as an artist even when life itself was uncertain.
When my parents split, it was messy. The house foreclosed, my mom and I moved in with my grandparents four hours north, and my two older sisters stayed in Cincinnati with my dad. As my mom struggled to find a job and a sense of new permanence in Akron, my aunts and grandparents stepped up and helped with caretaking duties. I was eight or nine years old.
There were a few years there–the late 60’s and early 70’s–when underground FM radio thrived in Chicago. FM was new then, not yet corporate, and it offered, on weak frequencies, some very eclectic and adventurous broadcasting. I’d stay up late at night and record from the radio—musicians I’d never heard, but who fascinated me: Sibelius, Rahsaan Roland Kirk, Skip James, Ornette Coleman, Doc Boggs. The tapes had no genre boundaries or even taste parameters, really–half the time I didn’t even know if I exactly liked the stuff I was recording. I didn’t yet have enough musical context to fully appreciate it. But I craved the soundscapes the tapes created. Avant garde and folk musics seemed much the same to me. It was all musical texture—fresh and new, especially the stuff that was old.
by Heath Church
When I play a song for you, I want to create an experience that sticks with you. I want to take you to a place in your mind where you feel accepted and understood in a unique way that you haven’t before. That’s what music does. It understands us. I think everyone needs a chance to feel understood.
My name is Mootzart. I am a composer and sound designer, but I have been interested in most modern art-forms for many years. Since I was a young child, I had the fortune of exposure to great musical works and education of the genres. Rock, Metal, Pop, Funk, Folk, Dance, Trance, Drum & Bass, Techno and so on…