A few days back, I clicked a link that designer David Rudnick shared for a new project he'd done in collaboration with interactive designer Ezra Miller: A visualizer for RL Grime's new single 'Stay For It' (feat. Miguel). Before you read any further, you should click that same link, check it out and listen to the track. I'm fascinated by the way we experience music in 2017. The idea of a music video is of course decades old, but the pursuit to innovate on the concept continues today with more experimental ideas and exciting artists to work on them than ever before. To get a bit more insight on this, I asked David & Ezra to shed some light on their collaboration, talked with them about working with musicians, and got into some of the nerdy WebGL details. Enjoy. (Click 'Continue Reading' for the entire interview...)
THE BRILLIANCE!: The two of you collaborated on Evian Christ's Trance Party site last year - was that the first time you'd worked together? If not, when was? And if so, how were you paired together for that?
Ezra: We first worked together on that Trance Party V site (http://evianchrist.com/tpv) as well as Evian’s homepage (http://evianchrist.com). David had contacted me through Facebook and I was very keen to work with him considering I’ve been a fan of his and Josh’s work together for some time.
David: I'd been following Ezra's work for a while, since I saw a project of his called My Shards ( http://www.myshards.com ), and I just felt that what he was doing was fantastic; so dynamic and very pure. My work can be very static, I loved the idea of working whose native language was working with generative or randomized elements, I felt like there was a lot of potential for how we could combine our respective practices.
TB!: You worked together on a similar project for RL Grime's track 'Reims' recently - how did that come about? Any more tracks in the pipeline that will get this treatment?
E: David brought my name up as someone who could be involved on the creative side of RL’s new album campaign and I was happy to take part. I think the first place I saw David’s work was by being a fan of RL’s music while I was in high school. The first visualizer for Reims was started while I was in London in March and finished in New York in late April, and went through many iterations of color and composition as it evolved into the final version.