Below, you can read our interview with Darrel Mayers of Utiopia Station, and listen to his album Arrival. Check out our full music review of Arrival here.
Q: Great to be speaking with you, Darrel! Utopia Station blends ambient textures with folk instrumentation in a truly cinematic way. What inspired you to bring harmoniums, French horns, and banjos into this kind of soundscape?
A: First of all, thank you for the compliment. Each of these instruments seems to have multiple dimensions within them, and they just speak to me — that’s the simplest way of putting it. They can represent failure and triumph, sadness and mysticism, fragility, fellowship . . . on and on goes the list. Also there’s a rarity angle, of putting the “noble” French horn, with the more humble banjo and harmonium that’s appealing. It’s hardly ever done.
Q: The name “Utopia Station” evokes travel, peace, and a bit of mystery. What does the name mean to you, and how does it reflect the project’s identity?
A: I think we all have a dream space in all our minds, and Utopia Station is a D. Mayers Projection – a place futuristic and organic at the same time. Hopeful and beautiful.
Q: “Arrival” is your first release under the Utopia Station name, but you’ve played in groups like Mundi and Motes Float Aloft. How did those past experiences shape the creative direction of this solo work?
A: In both cases, there are strands from the medieval Mundi, and the ambient Motes Float Aloft, that I’ve carried into this new project. There’s Mundi’s French horn and harmonium. And with Motes, there’s video and multi-media —and deep space music production.
Q: There’s no vocal narrative in “Arrival”, but each track still tells a story. When you compose instrumental music, what guides the emotional arc of a piece?
A: Ah… this is quite difficult to answer, because each piece has its own story. “Hour of the Starling” and “Icelandia” were written to videos – so they were the guide. With the others sometimes I create a character and story that can be helpful when staking out transitions and new sections. Along the way, the music itself has its own life force, and asks for things too – which is a huge part of the process.
Q: You’re also releasing a new soundtrack video each month. Can you talk about how visual storytelling complements your music, and how those videos fit into your long-term vision for Utopia Station?
A: Yes… the project is definitely multi-media, and the goal is to pair each piece with a video, but the hope, also, is that each piece stands on its own “audio legs,” and works as a piece of music, pure and simple.
Q: Austin is known for its live music scene, but Utopia Station seems more introspective and atmospheric. How does being based in Austin influence your sound, if at all?
A: A good observation. Yes — the beauty of the city, the languid live oaks, and the rivers and Barton Springs, and the amassing of richly creative people in film, music and art all feed into the positive energy of the project. But at the same time I shut myself away from it a little bit, by choice. I have collaborated so much in my musical career, and at this moment, I want to close the door, and be more like a painter with his canvas….
Q: What was your first instrument? Do you still have/play it?
A: I grew up in England, and when I was ten I started playing the Spanish guitar. I remember mowing lawns and collecting pocket-money to finally one day venture up to London with my mother — to Ivor Mairant’s shop, 56 Rathbone Place I think, to buy my first guitar, a Kimbara. It was a big deal! I still have it in Austin.
Q: Perhaps in some unspecified amount of time, your musical career explodes in the best of ways. What does that look like for you?
A: There are two things. The first is to stage a multi-media concert, and be able to take that on tour. Secondly, I’d really like to work on some soundtracks. I love the process of working with movie producers, helping them to tell their story, and tweaking melodies and moods fit their work.
Q: You get to collaborate with anyone of your choosing. Who is it?
A: “Jónsi” Birgisson from Sigur Ros.
Q: Your favorite album of all time? (Yup, you gotta choose one.)
A: “Meddle” by Pink Floyd (because of “Echoes.”)
Q: Your favorite song of all time? (Again, only one!)
A: “Opening” by Philip Glass
Q: What would you like fans to know about you that they’re most likely unaware of?
A: I am working on a new album, and I am also putting energy into creating some musical instruments, inspired by composer Harry Partch. Tuned water-bottles, and a modified bicycle wheel may make it onto the next album. Long term, I am working on creating some live performances.
Q: Any shout-outs you wanna make?
A: Yes! To Nigel Jacobs, my partner in Motes. Movie director Frank Kim – who is currently hard at work on a video for the “Arrival” (the title track.) And Jason Molin for his fine web design work on my site.
Q: Anything else you’d like to add?
A: I’ve recently been focused on thinking of music as circular, rather than linear — which has helped my timing and playing immensely — but maybe this sizeable topic is for another interview! Thank you, Jess, for your support and insightful questions.
(Want to be interviewed by The Ark of Music? Click HERE.)