My top tips with Modul:Projects and Chaines

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My top tips with Modul:Projects and Chaines

Modul:Projects is a collective of electronic musicians and artists. They explore methods for collaboration within electronic and experimental music through unique artistic residencies and projects. They are particularly interested in pioneering innovative methods of electronic composition and non traditional live performances.

Chaines (Caroline Haines, born 1990)  is one of the artists leading their forthcoming artistic residency Push:Music. Described as ‘iconoclastic’ by the label Slip Imprint, Chaines’ music reflects diverse stylistic influences, whilst retaining a unique sense of spirit. Chaines has released two EPs to date; the joint record SPLIT (2013, Slip Imprint) and the solo debut OST (2015, Slip Imprint), both of which blur the borders between popularist and experimental music. More recently Chaines has written for cellist and producer Oliver Coates, been in residency with 2016 SAY award winner Anna Meredith at Manchester’s Museum of Science and Industry, and performed with the London Contemporary Orchestra in Rod Arad’s Curtain Call (Roundhouse, London).

 

Here, Caroline shares her top tips for laptop and electronic musicians:

1) Laptop musicians may not be playing traditional instruments, but they still need to practice.

2) Have faith that you’ve put the practice in (seriously, put the practice in) and focus on making a connection with your audience when performing. The audience wants to be engaged, so avoid stressing too much about the technical stuff on stage. You’ll have less opportunities to practice your stage craft with a real audience than you will to jam alone, so make the most of it.

3) Good tutors/mentors want to enable your individual development and help you become the best version of your creative self. They’ll try to expand your horizons and develop the unique appeal of your output. They really, really want to help you, so don’t be shy – ask!

4) You’ll never fail to be surprised at how differently people experience all aspects of music. The more different your musical background is from your collaborators, the more patience and sensitivity you’ll need to bring to your rehearsals – but you’re also likely to learn a lot more.

5) ‘I do not like your musical decision’ does not immediately mean ‘I do not like you’ or ‘I do not like any of your musical decisions’. It’s normal to find criticism hard, but if you can learn to keep your ego intact you’ll save yourself a lot of bother. Collaborators need to be honest with each other to be successful. Don’t catastrophise your (or anybody else’s) mistakes.