Noah Kwid
Impose recently debuted Noah Kwid’s mind illluminating new single “Spring” yesterday off the upcoming Transit Music EP available from the new Future Gods‘ imprint Timeless. that Impose’s own ace director Meredith Schneider described as as an arrangement of “quirky, layered instrumentals hit staccato notes…when the synth hits, there is a distinct 80’s throwback feel to the song, and we’re taken back to the days of after school PBS specials and bright, geometric illustrated visuals dancing in our heads.”
“Spring” is a song that gives you some comfort for the forthcoming season during the autumn & winter endurance tests. Noah navigates through a melange of morphing synthesizers that take on lives of their own as his own vocal loops become absorbed into the arrangement of bass bubbles & other chirping electronic components. Before you know you become completely lost in the mix, as Noah Kwid pulls something of a Jerry Paper effect where you are not certain how far out you are until you find yourself completely lost in the track, where the percolating rhythms take you to the points of new return. We caught up with Noah to talk about the trap and the new EP in the following interview session:
Describe for us how you discovered your own musical voice.
Discovering my voice isn’t something I can trace back to a specific moment, or even year. It happened gradually, and my voice continues to change. Like chiseling a form from a block of stone. It is something that has always been, and continues to change as it is further uncovered. The form becomes more evident with each piece of rock that is knocked away.
How do you find a certain spirit & soul in your approach to electronic arrangements?
I find spirit and soul in the same way I would any other medium, limitation. It’s a big part of what fuels my music. It forces me to find new perspective…the soul of the songs have less to do with the tools and more to do with the how you use them. I’ve seen beautiful sculptures made from junk.
What sorts of transitions and passages informed the creation of Transit Music?
Transition can mean a passage from one point to another. It can also indicate growth and change. Transit Music is motivated by both of these things. This EP was a literal return home, a return to nature. Memories of the ocean are scattered throughout the EP. Transit Music is also a farewell to Dirt Dress, a very important 10 years of my life. It’s a farewell to Los Angeles as well.
What about your environment of LA continues to inspire you creatively & personally?
LA is a huge sprawling city. It’s beautiful and harsh. Some parts can look almost tropical, others feel bleak, and desperate. It’s amazing how these two sides of Los Angeles can exist right next to one another. Doing a very good job of ignoring each other. The harshness is what originally drew me there. Every ugly detail is exposed, covered in dust and trash. I lived in Los Angeles for 10 years. There will always be a part of the city in my music. I met a lot of great people down there, and am very thankful for all the experiences the city gave me.
Next moves for Noah Kwid?
I’ll create as much as I can. I have plans for a 7” that will incorporate more of my art. I’m in the process of writing songs for an LP.
Other local phenomenons the world should know about?
Los Angeles: Traps PS
San Luis Obispo: Josh Barnhart, Garland Miller
