Photo by Damian Lemański & Ulka Dzikiewicz.
Tristan Eckerson is a pianist, composer, and DIY musician in every sense of the term. He writes, mixes, and masters his own music, creates his own album art, and arranges his own international tours. After working with 1631 Recordings on two previous albums, Eckerson is releasing his newest work, Dream Variations, independently on July 6.
The twelve short piano solos on the album draw inspiration from music as wide-ranging as Beethoven, Sigur Rós, Ryuichi Sakamoto, and Tigran Hamasyan. With a passion for film scores and soundscapes, Eckerson strives to create music that is as accessible and relaxing as it is complex.
This describes his piece “Endeavour” perfectly. Starting with a bittersweet and beautifully simple melody layered over rich, percussive chords, “Endeavour” evolves into a multi-textured piece that juxtaposes mournful moments with flashes of hope.
We’re thrilled to premiere “Endeavor” right here on Second Inversion. Plus, learn more about the album in our interview with the composer below.
Second Inversion: What was the inspiration behind “Endeavour”?
Tristan Eckerson: It’s hard to say what the inspiration behind this particular piece was, because I really approached this entire album as a succession of pieces that were all strung together in a stream of consciousness type fashion—hence the album title.
I was really inspired by listening to some piano pieces by Ryuichi Sakamoto—how simple, elegant, but harmonically rich they were, and how they were so minimal, but not at all boring or simple musically. I also liked the idea of Daft Punk’s Random Access Memories, and just having a lot of shorter, succinct pieces that kind of flowed into one another and were variations of one another. And so “Endeavour” just ended up being one of those pieces.
SI: Dream Variations works to stretch the boundaries of solo piano composition. What elements have you employed to subvert listeners’ expectations?
TE: I think in the contemporary classical genre right now there seems to be an aversion to using jazz influences of any kind. And since I love a lot of jazz music and jazz harmony, but don’t really have any interest in writing straight ahead “jazz” music, I’ve been very drawn to incorporating jazz harmony and modal harmony into a contemporary classical setting. Again, going back to the influences of Ryuichi Sakamoto, and also Ravel and Debussy—I just want to give listeners something that they aren’t used to in terms of the depth of harmony I’m using and the types of moods that it’s creating.
SI: This July you are releasing Dream Variations independently. What are the challenges and rewards of working within a DIY framework?
TE: The challenges are that you’re doing everything yourself—so if you aren’t putting in 100% in a particular category, then no one else is going to pick up the slack. I’ve had to learn a lot of things that I really would have rather left to someone else—non musical things. But the reward is that because I’m doing everything independently, I retain much more control when it comes to how to do things and of course intellectual property rights, royalties, and everything concerning the business side. And also when you do everything yourself, even if you aren’t an expert in every area, it’s very rewarding when you actually start seeing results, because all those results feel like very personal achievements.
Dream Variations comes out July 6. To pre-order the album, click here.
