It’s like an electroacoustic, surround-sound cello gamba. It embodies everything that fascinates me the most - acoustics, playing instruments, digital processing, movement of sound. Somehow, everything is combined in Ómar.
I don’t really like to work with a large team and assistants, because then I lose so much time explaining things, which I don’t like.
Singing is something that I have done all my life, but what I did on my first two records was to hide the vocals. They’re there to thicken the web of the cello.
My mother was an opera singer and my father is a clarinet player, composer and conductor.
A lot of my music is kind of contemplative, and somehow that always tends to tilt on the darker side. My inner conversation is apparently quite dark.
Joker' is, of course, a character of my generation grew up with, and it’s a character you know really well and have strong opinions about. He’s been a larger-than-life character in fiction. He’s one of these rare characters that have had such strong performances.
There's been a tendency to think that TV music has to be cheap and fast and for films it has to be nothing but orchestral music, but it's not right.
Because in both TV and film every story under the sun is being told, and so music shouldn't be restricted to have to follow, like, the John Williams template or something. I love John Williams, but that sound doesn't suit every story.
