Jakob Balogh and Martin Tillman join forces on “life,” a 5-track, 31-minute immersive sonic voyage that stands out for its cinematic quality and enigmatic atmosphere. It will leave you spellbound.
Describe your sound in 3 words
Cinematic. Melancholic. Warm
Life unfolding as a 31-minute journey with five connected movements, intended as a meditative ritual. Can you walk us through the structure and the intended emotional or mental progression for the listener?
Since the whole piece is based on natural field recordings, it was clear to me that each movement should represent an element. I wanted listeners to go on a journey, so it starts with pure, untouched sounds—water trickling over stones, wind rustling through leaves, distant bird calls—to invite calm and presence. As the journey unfolds, I gradually warp those recordings, making them feel stranger and more alien until they reach a central peak of intensity. From there, I strip everything back down, guiding the listener gently back into the real world by the end of the album.
I’d originally planned four movements, but when I recorded Vivi’s vocals a whole new dimension appeared. My wife pointed out that in Ayurveda the fifth element is ether, so she suggested the name.
The concept of a “hybrid of nature and technology, of human and machine, of tradition and future” is central to your project. How did this duality manifest in your creative process and the final sound of Life?
I went into the forest near my hometown and recorded tons of raw sounds. Back in the studio, I started playing with them, turning water and air into rhythmic pulses and evolving pads. It sounded so alive that I thought: let’s throw in some synthesizers—the most artificial instruments—to counterbalance those organic textures. And Martin’s electric cello became the perfect glue: it’s acoustic at its core but plugged in and processed, so it sits right between human and machine.
For listeners accustomed to more traditional album formats, what would you say is the unique experience they can expect from engaging with Life as a single, continuous journey?
In today’s world everything’s on fast-forward these days—especially online, where you’ve got twenty seconds to grab someone’s attention. This album does the exact opposite. It’s designed as an antidote to haste: a chance to slow down, breathe, and immerse yourself in a sound world that unfolds deliberately. Listeners can expect to drift away from daily pressures and sink into a meditative ritual.
What were some of the most surprising or insightful discoveries you made during the collaborative process of creating Life? How did your individual musical backgrounds influence the final outcome?
Given Martin’s work with Hans Zimmer on huge scores like Pirates of the Caribbean and The Dark Knight, I assumed his cello parts would be massive. But when I got his recordings, I was blown away. The way he played over my piece, making his cello almost sound like a flute, layering delays and effects that made it float and shimmer in space. That totally transformed my track into something I never expected, so I went back in and reworked the surrounding textures to weave his cello right into the heart of the piece.
What’s a funny habit of yours that you could reveal?
When I start composing, I completely forget basic needs—eating, drinking, everything. My wife knows I’ll end up dehydrated with a pounding headache, so she pops into the studio now and then bringing me tea or water in an attempt to rescue me. However, I then take one sip, put the glass down and forget about it altogether again.
Artists and people that have influenced you?
There are many, but I’d say Bernard Herrmann with his composing style, Tom Waits because of how he uses weird sounding percussion instruments and Jim Jarmusch with his peculiar storytelling.
If Life was a film, which film would that be?
Although Martin and I both write for film, this album stands on its own. If Life were a movie, it would be the one you see with your eyes closed—your own inner film that unfolds as you listen.
Thank you!
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