If you've followed us in the last few years, the name Nick Marks should ring a bell. The New York-based composer and pianist has a unique way to create cinematic jazz electronica sonic universe that sucks you and makes you feel at home, regardless of your fascination with the genre.
We've been keeping an eye on his work since the release of Cinematic Chromatics Volume I and now, when the trilogy is officially out, I had the pleasure of catching up with him and picking his brain.
Hey Nick, how does it feel to have 3 volumes set out in the world?
A blend of deep satisfaction, relief, and gratitude. I'm incredibly appreciative that this ambitious project is now out in the world in its complete form for people to enjoy.
Do you think music gains a life on its own once it's released and how it exists (read people perceiving, listening, etc) is out of the hands of the artist?
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I agree that the music gains a life of its own once it's released. For me, that is one of the exciting parts about letting go. You put your work out there for people to connect with in their own way. It's something I find inspiring, and I learn a lot from it. I've always viewed myself as the conduit through which the music is created. I write this music to be a soundtrack, so if you want something to connect with people on a deeper level, that requires 'giving up' something so someone else can create meaning for themselves.
I think artists have some agency in sharing the background behind the work, why it was made, and the confluence of external influences (musical, social, cultural, or otherwise) that brought it into existence. I don't think artists can control how it is received or perceived of course. Another way to frame this - artists can vicariously witness how others experience the music, which gives you fresh ears or another perspective for hearing the music you wrote (at least for me, anyway). It's fascinating and affirming to see people connect with the work and how it can be a soundtrack that accompanies them during everyday moments of life; from the mundane to the deep.
How did volume III creation differ from previous volumes?
Volume III represents the broadest sonic pallet of styles and genres across the trilogy in one record, building on the foundations set up in Vols. I and II. Each track takes listeners on a different trip through my sonic universe, from cinematic jazz to future fusion, infectious grooves that could come from Brooklyn or Paris, multi-dimensional drum'n'bass tracks with hints of Coltrane and hip-hop, to an ethereal neo-classical dreamscape.
For me, I feel like the feature track of the album, "Current Location", best represents the ethos of the series. The record is a reflection of how I hear and think about music, a blend of styles, moving between various aural mood boards and joining the dots between my worlds as an improvising pianist/producer and someone who also writes scores for film and concert pieces.
This concludes the trilogy, what's next for Nick Marks?
Since you asked, I'll be happy to share as an exclusive that in late March/early April I'll be dropping a remix of my track "Back To Life (feat. Doron Lev)" by Potatohead People. I've been hooked on their music since I discovered them last year (late to the party, I know), and I'm stoked with how they flipped this track. I can't wait to share it. It'll be accompanied by a music video, animated by the incredible Dane Jacobs. Stay tuned for more details :)
I'm currently writing and producing a little 'mixtape' with the aim of releasing it in the second half of the year. It'll have 3 sides - side A features the main tracks, side B features piano-forward renditions and arrangements of the same tracks, and side C will feature flipped, low-key arrangements of similar tracks.
These are a bunch of ideas I've had kicking around for a while, all homegrown in the studio. I often find when I'm writing I can take one idea in several directions, and so having multiple outputs here gives me the opportunity to push the boundaries and explore what one idea could sound like in different aesthetics.
I also recorded and co-produced a new future-jazz/hip-hop record called "Third Island Suite" by London-based producer Daylight Robbery!. The first single just came out, with the album set to drop in May.
What did you learn in the 2 years of compiling this amazing sonic legacy?
Artistically, it's essential to listen to your intuition, trust your gut, be open-minded, and believe in your process. Get your music to your level of satisfaction, and then (following your above question) release it into the world. Let it go. Learn from the experience, and see how people respond. Then move on to the next thing. For me, being deep inside the process of creating this work - spending thousands of hours improvising, composing, iterating, re-iterating, recording, and producing - is my true happy place. I will do it whether 10 people or 1 million people will eventually listen. Every track, and every project is a blank slate, and I can't wait to see where the creativity leads. I always want to keep moving and pushing myself, living out of my comfort zone.
Do you see your sound evolve in the future?
Definitely! That's the goal. The mixtape is like a sandbox to explore new sounds, and after that, I'll be focusing on an album. The textures, sonic pallet, arrangement, musical vocabulary, and overall aesthetic will grow. I'm spending time now learning more about modular synths, ambient sounds, and constructing sound from the ground up. My core principles in writing will transfer from record to record, but I always want to push the output to new places where I've never been. My favourite artists are those whose output constantly evolved over decades of releases; Quincy, Miles, and Herbie epitomize that for me.
How does a Nick Marks day look like these days?
Every day is different. My day typically starts early spending time with my daughter before she goes to school. By the time I get home, it's straight to the studio. I'll spend the next 8 hours dividing my time across projects I may have, depending on what's on my slate: a film score, a podcast score, a track for an artist I'm producing, a collaboration, recording keys parts, or writing/producing my own projects. I then teach students across the world online, anything from piano/keys to ear-training, composition, producing/arranging, or improvising. I'm a conservatory-trained jazz pianist and have a deep love of classical music. I love sharing the knowledge and helping others develop as artists, or realizing their musical voices through their own work. I'll have rehearsals or gigs in the evening, but if not, I'll usually be writing or answering life admin (aka emails).
Who is on your playlist right now, any artists we should be checking out now?
I feel like you guys are one of my first calls for finding incredible new music!
Lately, I've been checking out the latest drops from Sholto (Letting Go of Forever), Salami Rose Joe Louis (Arm Fell Asleep), Jake and Abe (Finally!), Miguel Atwood-Ferguson's Les Jardins Mystique Vol. I, as well as checking out Gabrielle Faure's Pelléas et Mélisande, Op. 80: 4. Sicilienne.
Nick's work is dedicated to the late memory of the great Adam Abeshouse - a mentor, Grammy award-winning recording engineer, and producer. Someone dear to Nick's heart who sadly passed away last year. Make sure you dive head-first into this beautiful masterpiece.
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