Idan Altman's latest album, 'It all works out in the End', is a culmination of nine years of musical exploration and self-discovery. This isn't just a new release; it's a carefully curated selection of tracks salvaged and refined from previous albums and EPs, representing the very best of his creative output.
In this interview, we delve into Idan's unique approach to music-making, his evolving perspective on his own work, and the fascinating stories behind each track. From psychedelic explorations to meditative improvisations, Idan opens up about the diverse influences that have shaped his sound.
Thanks so much for chatting with us today. Let's dive right in. You mention taking down previous albums because you weren't satisfied with them. Can you elaborate on what specifically didn't meet your expectations and how your views have evolved over these nine years?
"For every album I made, it always felt like I had done my best at the time I worked on it. But later, when I listened back, I’d feel like I could have done better. Working on songs is my job, and I’m always learning new things and improving my skills. So when I listened to my past albums after a few years had passed, I’d find myself thinking, 'I can sing better than that', or 'I can write better songs'."
The first edition of this album had a self-imposed limitation of no guitars. How did this constraint influence your creative process and the overall sound of the album?
"Not using any guitars meant stepping out of my comfort zone and relying on analogue synths, sequencers, and drum machines, which are a big part of the album’s sound. Another aspect was using a bass to write songs. This was totally different from working with a guitar because, on a bass, you play single notes instead of chords. This meant I started with bass lines and figured out the chords later, which led to all kinds of weird chord transitions I wouldn’t normally use."
You describe 'Microverse' as being created under the influence of LSD. Can you dive into how psychedelic experiences inform your music, and whether you actively seek these states for creative inspiration?
"'Microverse' was originally included in an album I made while experimenting with psychedelics in 2020. Psychedelics put us into a hypnotic, dream-like state while still being half awake. In this passive state, all kinds of information that’s usually hidden in our subconscious starts flowing out. This could be an old childhood memory, suppressed emotions, or even music. I don’t really do drugs anymore, but being passive and allowing things to come naturally is still a big part of my process."
'Thrift Store Girl' has a very specific origin story. Do you often find inspiration in everyday moments like this, and how does a narrative like this translate into your music?
"In 2022, after not having written anything in years, I found myself in a thrift store in Lisbon with an ex-girlfriend. We had just broken up, and as she browsed the store, it suddenly hit me: just like the items in the store, I’m also second-hand, back on the market and hoping that some girl will take me home. I immediately wrote down the first lines of what would later become 'Thrift Store Girl'. This is another example of being passive - I wasn’t planning to write anything. Something happened, and suddenly it was there."
You've revisited "It all works out in the end" five times. What was it about this particular melody that kept drawing you back, and what finally clicked with this fifth version?
"I heard the melody of this song in a dream sometime in 2018, and ever since, I’ve been trying to recreate what that dream felt like. The main vibe was hopeful, like 'things will work out eventually.' What kept bringing me back to it was that, no matter how hard I tried, it always felt like the song had more potential than what I was able to make of it."
"I tried different keys and tempos, as well as different arrangements. There was a lo-fi version, an experimental version, a minimal piano version, and even a ukulele version. Each one brought me a little closer until the current version when I finally felt 'that’s it!’."
'Heroic Bee' stemmed from meditative improvisation. How does meditation practice intersect with your music-making, and how do you balance spontaneity with structure in your compositions?
"Meditation means different things to different people. In the case of 'Heroic Bee', I sat down without moving for about an hour until I felt a certain calm. I then picked up the guitar and started improvising without thinking 'This is going to be a song.' Meditation is another way to become more passive and allow music to come out on its own."
"It doesn't matter whether it's through meditation, taking LSD, observing life, or even during a dream state - the principle is the same."
How do you balance your passive approach to music-making with the more structured, intentional aspects of your process, particularly when producing for other artists?
"Producing for other artists means I have to be very methodical. When I’m working with deadlines, I need to deliver good results, even if I’m not feeling very creative. By now, I have a pretty good sense of what to focus on and how to avoid getting stuck in mind loops. So, even though I’m not always actively creating when an idea comes, I’m able to put it into form pretty quickly and without much effort."
You've included bonus tracks from previous albums. What was the selection process like for these tracks, and what do you hope listeners will glean from hearing them in the context of this album?
"The Bandcamp version includes nine bonus tracks for a couple of reasons. The first being that I’m not planning on releasing more music anytime soon, so I wanted to make sure I could offer something extra to anyone who feels like the Spotify version isn’t enough. Another reason was to give the listener a deeper insight into how this album came to be, why it took so long, and to share some of the music I took down, including earlier versions of 'It All Works Out in the End' that I mentioned before."
Looking back on these nine years, how would you describe your journey as a musician? What were some of the most significant turning points or lessons learned?
"I’d say it’s been a journey of becoming a better version of myself as both as a musician and as a person."
"I tried all kinds of techniques, experimented with different sounds, and made sure to push myself outside my comfort zone because discomfort is essential for growth. I learned to enjoy the process of making music without obsessing about tiny details and allowing things to evolve naturally. You don’t get anywhere by forcing things; it’s better to wait for the right moment."
Idan Altman's journey is a testament to the power of perseverance, self-reflection, and a relentless pursuit of artistic growth. 'It all works out in the End' is not just an album; it's a sonic tapestry woven from years of experimentation, refinement, and self-discovery. Be sure to check out the album on Spotify and Bandcamp, and explore the bonus tracks for a deeper dive into Idan's creative evolution. This is an artist who embraces the journey as much as the destination, and we're excited to see where his musical path leads him next.
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