Tim: Those songs are fleshed out early on in the episode production process, way before we have any creative input on the matter. When it comes to the more coherent song-based stuff-when Marceline or Finn are singing about their feelings, for example-do you have involvement with the lyrics as well as the arrangement? I can't forget my stepmom Lisa Gygax-she and her banjo set the scene for flooping the Pig. Ashley Dzerigian, who’s constantly touring around the world with big time bands, defined the Marceline axe bass sound in Evicted! Opera singer extraordinaire Karen Vuong floored us with her supersonic improvisations, while Yvette Dudoit gave a dark classical backdrop to Jake The Brick. But when they happen the added chaos is plenty rewarding.
Tim: Collaborations are a sweet rare thing squeezing them into aforementioned schedule is tricky. Super futuristic.ĭo you tend to work together or separately? I’m devoted to an AI project, constructing an environment for discovering second millennium music, staring into our phones, wandering around the wilderness, bumping into bears. I wander through the Santa Monica Mountains on foot, singing into my phone. Next stop is the fairytale German countryside.Ĭasey: There is something dungeon-like about studio life. Quite recently I’ve started taking this imposed fervor on the road, finding nooks and crannies around the world to nestle and compose in.
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The intensity of the network TV schedule lends itself well to this mania-deadline adrenaline is real. When you don’t see or hear from me for days at a time, your best bet is that I’m holed up feverishly making music magic en studio. Where do you do most of your work and what is it about that environment that helps?
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That said, my list of current essentials looks something like: Eero Johannes, DJ Nate, Julianna Barwick, Acid Arab, Skin Town, Matias Aguayo, Nils Frahm, Heterotic, Kyary Pamyu Pamyu, and Various Production. As a DJ, event producer, and neophyte record label boss, my music intake is both boundless and boundary-less, impossible to quantify by the metric of “favorite," and in general, eluding definition. Engaging people in an expressive dialogue and the resulting creative feedback loop is the most beautiful thing to me. I take great care to creatively blur the familiar with the foreign, so that my audience gets as much a sense of fuzzy comfort as electric wonder. And that’s my characteristic approach, whether it’s programming an evening of bands/DJs, crafting a DJ mix of my own, or brewing up beats. Simply emulating a style is a hollow chore, and that has its place-just not in Adventure Time. Tim: I think people forget that there’s continuous space between predefined genres… I just explore it. I live in constant horror of the zillions of ways I don’t fully realize that universe. Suddenly music was all of the genres that have ever been and all of the genres and forms that will be up until this apocalypse, followed by a thousand years of simmering where context evaporates leaving each its own misunderstood ancient opera. When Pen described the post apocalyptic scenario, I realized the amazing opportunity. The music isn’t subordinate to the picture, it intentionally injects foreign elements into the space, dragging and shoving the audience into new realities good-natured roughhousing.
I wanted an atmosphere gripped with juvenile silliness and unbiased curiosity, recalling the time in life where everything is new. The operatic howls embody the mosh pit of realities I was trying to create.
But how do you decide what fits where, and how do you mould these pre-existing “genres” to fit the tone of the show?Ĭasey: Pen’s directions for the Adventure Time pilot were very open. I mean, the compositions feature chiptune, beatboxing… pretty much everything. That kind of explains why music is so diverse. I want little kids to dance in front of their TVs!” Strip tease,” and for Finn and PB’s Rube Goldberg-esque prank on Lemongrab in "Too Young": “Silly rascally montage music! Have fun with this, man. For a snippet from the episode " Power Animal" he requested an “Intense cacophony of religious sounding… ehh, stuff…," for a moment in " Slow Love," “Sexy sting here… Build it up with whistles and wolf howls Kenny G. Fond memories abound of him articulating his vision for the episode. Tim: Before Pen stepped down from the helm, we almost exclusively worked with him. In terms of working with Pendleton Ward or any of the producers, do they tell you roughly what they want or do you just take a look at the storyboard and run with it?
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