|"Rather, when you’ve just come up from the cellar, and you were freaked out that something was going to pull your foot under the stairs, or the eye balls in the painting that somehow keep changing where they are looking," begins Lassen. |
"That adrenaline, or the memories that you keep to yourself, seem to reflect a more realistic and colorful dissonance that a lot of people in the world seem to dive into sometimes. I’m happy to be working in a niche genre like this, and from the kinds of feedback I get; I know I’m helping a lot of people. I know what I’m good at and I’m perfectly content to let this process happen naturally."
" I usually say don’t expect anything except the unexpected. If you think about it too much, it won’t make sense anymore."
When composing for video games, Lassen scores them much as he would a film. He has the development team send him videos of the levels, detailed screenshots and concept artwork, as well as the story and overall mood. "I let the ambience take over from there, controlling my fingers," he explains. "I am generally given a sort of guideline at the beginning, then I’ll turn in something completely different and the team usually agrees with my two cents.
|This is all very similar to my Synaesthesia composing, in which I let the artwork write the music for me. My fingers are purely a tool for the artwork to get its magic onto paper for me. I don’t have any strict practices or techniques. When I’m lost for inspiration, which is the most difficult part for me, I must search the web for inspiring concept art, scenery, environments and other visual art and artists. One of my absolute favorite sources is CGSociety, which has made several deposits into my inspiration bank over the years."|
Also during 2008, Justin produced and remixed the official soundtrack for Clive Barker’s new film “The Midnight Meat Train” for Lakeshore Records in support of the film release. It includes 14 brand-new eerie rock remixes by Justin and came out during the summer of 2008 to great applause.
On the album you can find remixes of a unique cast of artist and bands which Justin got full charge over. “I wanted to pick bands that I would listen to, not just the typical stuff you find in horror movie soundtracks, but I also wanted it to feel Clive Barker through and through, being inspired by the writing as well as the film."
Of the many great artists on it, you will find graphics programmer extraordinaire SLVTN (famous for writing the graphics code for some of the best electronic concerts to date.), the legendary composer of World of WarCraft, Jason Hayes, four of the world’s best Cello players, Apocalyptica and on and on. It’s an interesting lineup that you wouldn’t normally find together. With Justin involved, of course it would turn out this way.
|“I've been working on the soundtrack as well out here in London and Budapest to another game called Hexen: Edge of Chaos (also highly regarded in the scene), a sequel to the originals," Lassen says. "I'm not sure when that developer will release the game, but from what I’ve seen it looks AAA and totally immersive, the team is incredibly talented and could steal away the jobs of some of the best designers in the game industry. The music is coming along nicely.”|
Justin has been working also to have his second symphony recovered. It was titled ‘A Suite of Grimm in the Mind of the Darkly Inclined,’ it was well on the way when the whole hard drive crashed and the release had to be put on the back-burner. This is a hard tale to remind people to back-up. “It's pretty expensive, I’d spent some three years producing it, but it was supposed to be released December 2006,” explains Lassen. “It featured three live orchestras and ensembles, and would have been a pretty cool release. It still makes me sad, and I hope that I can recover it soon. I wanted it to be a follow-up to my first symphony ‘And Now We See But Through A Glass Darkly’.”
“My clientele is varied, and keeps me busy,” he explains. “I have done remix work for artists like Nine Inch Nails, Linkin Park, Robert Miles, and David Bowie. I also find work doing sound design for storybooks, radio stations, art galleries and video games. I love working with visual artists, and have done work with gothic, minimalist, and fairy tale artists. I love to take their inspired visual artwork and allowing the beauty of their pieces to find their voice and their music.” When he’s not doing audio work, Justin finds jobs doing anything from web site design to art direction, and doing non-audio related producing. Justin admires musicians for their ability to create visual soundscapes. Like Philip Glass, Sergei Rachmaninov, Aphex Twin, Trent Reznor, BT, Blue Man Group, Poe, Danny Elfman, and James Horner amongst others.
“I've been travelling all over the world the past few years, giving talks at universities on various subjects on everything from music to record labels, to graphics as they apply to sound, etc. It's been fun to answer questions and help people out. That's been my favorite thing. Helping whenever I can, and seeing the world through different perspectives and through different people."
"I've been recording non-stop on tons of other personal projects as well, always playing piano wherever I find them, and keeping my chops up to par."
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