Talks with Paul Avgerinos about Law of Attraction


Paul Avgerinos

 
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Law of Attraction

AV:  I’ve been listening to your new album this evening and it is very intriguing and it will be making many return trips to my CD player in the coming weeks. Let’s start with the title Law of Attraction where did that come from and how does it relate to the songs that you chose to include on this album? 

PA:  I have been enjoying and studying the books and teachings of Esther and Jerry Hicks the last Four years . " The Law of Attraction ", " Ask and it Is Given " , " The Vortex " . . . wonderfully useful practical teachings that help with everyday life. 

AV:  Tell me about the theme that seems to permeate all the music on this album.

PA:  When I produce an album, I like to keep archetypal themes in mind : moods & focal points . With Law of Attraction , I kept to a heart of joyful enthusiasm and sensual delight .

AV:  As a composer did you have these themes in mind when you started working on Law of Attraction and how do you go about translating ideas into the music that eventually ends up on an album?

PA:  Since music is so subjective and personal, I find it best to focus on feelings of joy, ecstasy, bliss and grace . The hope is that if I keep my focus on universal archetypes, the music will resonate with a large and diverse group of individuals .

AV:  When did you first start working on Law of Attraction and when you start a new project such as this how do you go about getting started? Sort of like the writer looking at a blank page and taking that first step towards writing the novel what does a composer do to take that first step? 

 

PA:  With L O A I started with grooves and beds to get the juices flowing . Whatever feels good and makes me happy :-) Then writing melodies and creating structural form and layers of sound design .

AV:  Once the flow starts is it easier to move forward with a project than it was staring at the proverbial blank page? Sort of like the law of inertia most of us tend to want to remain at rest until “something” begins moving us forward.

PA:  Definitely ! Once you have a first track that is pleasing , it all flows . Faith , trust and patience are truly important .

AV:  I know that you run/own the Studio Unicorn up in Connecticut so when it comes to your own music you are probably involved with every aspect of the recording from performance to mixing and mastering. Is it more difficult for you to be objective with your own recordings such as Law of Attraction that it is to be behind the board recording someone else’s music? Explain.

PA:  Yes, it is harder to be objective on my own albums , and I need to stay focused since I am not paying by the hour :-)

AV:  Did you do the studio work for Law of Attraction as you moved along with the project or did you wait until the music was fully realized in your mind before stepping foot in the studio?

PA:  I am a ' create it in the studio ' kind of guy for the most part . I love the spontaneity and magical synchronicity of the studio environment . So many wonderful tools and instruments to inspire and explore .

AV:  Why did you decide on using musical styles from the middle east and India in recording the Law of Attraction? What was it about those styles that allowed the concepts that you wanted to communicate to be fully realized?

PA:  The Middle Eastern and Indian styles are so very sensual, sexy, deep , rich and profound to me .  Such a rich cradle of civilization for our ancestors and us . The roots of our wisdom schools and the teachings of " The Law of Attraction " .

AV:  I really enjoyed some of the vocals that I heard drifting through the music at various points. I read that you had 9 guest artists working with you on this album. That seems to be a lot of talent to work with on a single album. Who were the artists that you worked with and how did you all get on the “same page” when it came to what you wanted to create with Law of Attraction?

PA:  Yes, a truly awesome band of artists ! Trina Basu on Indian Violin,  Kevin Braheny Fortune on EWI & Alto Flute, Brahim Fribgane on Oud,  Steve Gorn with his Bansuri Bamboo Flute, Rafiq Khan on Sarangi, Rohin Khemani playing Tabla & Percussion, Steve Waite on 12 String & Electric Guitars, Christine Yandell doing her angelic Vocals and Malika Zarra doing her magical French & Arabic Vocals . 

My method is to record everyone separately at great length while guiding and inspiring them , and then to spend weeks editing and compositing their performances to my satisfaction . Most of these artists have never met each other :-) This is how we get on the " same page " .   

AV:  Is it easier for you to do collaborative work on your own albums because of what you do in Studio Unicorn with other artist’s music?

PA:  Yes ! For many years , I have helped my clients to successfully interact with guest artists and hired session players to get what is best for their various projects . This skill set and ' bedside manner ' are invaluable when it comes to producing my own albums .

AV:  I read where this new album is modeled on Garden of Delight which is another of your albums from 2008. Could you explain the connection in concept between these two releases and how one builds upon the other?

PA:  Garden of Delight was primarily focused on the Middle Eastern moods and with Law of Attraction, I endeavored to expand the focus while still maintaining coherence and continuity .

AV:   How do you feel about what you have been able to accomplish on this album and how does it compare to what you have done in the past?

PA:  I must leave that to you and others as I won't have any objectivity till about 2012 :-) I have found that it takes a few years to be able to see the forest and not just bark detail . This is just what happens when you work on one album for Six Months in a row . . .

AV:  Thanks for talking to me about your latest album Paul.