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Justin Lassen : The Darker Side of Synaesthesia |
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Mr. Lassen has over ten years experience in the music, film, and game industries. He has produced remixes for artists like Madonna, Garbage, Blue Man Group, Lenny Kravitz, Robert Miles, Majandra Delfino, Nine Inch Nails, Linkin Park, Evanescence, Tweaker, as well as many others. Mr. Lassen has also worked on various projects for game and technology companies such as Interplay, Novus Delta, Cakewalk, Intel and Carbon6. In 2003, he released a dark chamber suite entitled 'And Now We See But Through A Glass Darkly' which caught immediate critical acclaim and response from both the industry and public alike. Lassen's masterful compositions have been praised and quoted by leading film, game and music professionals, such as Bob Chiappardi, The Dust Brothers, Tommy Tallarico, Charlie Clouser, Tim Cain, Robert Miles, Poe, etc. He has been working on his 2nd symphony while living and working in Europe, UK and the USA for the past 3 years, as well as on an assortment of other projects in process. We've interviewed Justin to learn more about his latest project, The Darker Side of Synaesthesia. |
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Track 1 : The Chase – Paul Gerrard Music: “The Falsehood Upward” |
Track 2 : Nos Morituri – Erlend Mørk Music: “Though It Seems, It Is Not All In Vain” |
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| IT'S ART : Synaesthesia is another piece to add to your digital art passion. As far I know it's the first tribute and expression of gratitude towards digital art, and far more important, a further connection between two kinds of art. Do you think you're opening a new door? Do you think you you're a pioneer? Justin Lassen : Well, thanks, it's an honor to hear that. I am trying to do something new, and it is really nice to be recognized by the community in this way. I suppose in a way, I am pioneering new directions and ways that visual art and music can coexist more organically in a medium that doesn’t exist yet. And I’m not just talking of a composer overlaying a score on a film or a video game set to action points and cue points. It’s a market that hasn’t been tapped; I was the first and still (as of this interview) the only composer featured at prestigious digital art communities/publications like 3DCreative and CGSociety. I have to thank people like Paul Hellard and Ben Barnes for being as forward thinking and on-the-ball about this concept and for giving me a chance to present this series of compositions to the digital art community in their own domain. |
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