Show Notes
Composer and musician Yann Tiersen talks to William Stokes about his love of modular synthesis, the joys and challenges of touring and performing and how he found himself unexpectedly involved in film composition, followed by an exclusive performance using five selected modules. Chapters 00:00 - Introduction 01:26 - An Accidental Film Composer 05:44 - Recording And Mixing Process 11:38 - Visiting Erica Synths 13:21 - Trans Musicale Festival In Rennes 18:47 - Eskal Studio On Ouessant Island 21:00 - Module 1: Serge New Timbral Oscillator 25:51 - Module 2: Instruō Lúbadh 31:06 - Module 3: Mutable Instruments Beads 32:58 - Module 4: Erica Synths Black Stereo Delay 37:21 - Module 5: TouellSkouarn Ar Merc'het Brao 41:30 - Yann Tiersen Performance
Yann Tiersen Biog Yann Tiersen is a French composer and multi-instrumentalist whose work spans classical, electronic, and experimental music. He gained international recognition in 2001 for his soundtrack to Le Fabuleux Destin d'Amélie Poulain (Amélie), following the success of his 1998 album Le Phare, which achieved gold status in France.
Since then, Tiersen has released numerous studio albums and has performed extensively across Europe, North America and Asia. His discography includes collaborations with artists such as Jane Birkin, Elizabeth Fraser and Matt Elliott. His work has been featured in films, theatre productions and contemporary art installations. Tiersen's compositions have appeared in a range of films beyond Amélie, including Good Bye, Lenin! (2003), Alice et Martin (1998) and Tabarly (2008), as well as various short films and documentaries. His music is frequently used for its emotive and atmospheric qualities, particularly in European cinema.
His latest release, Rathlin from a Distance | The Liquid Hour (2024), is a double album where the first part comprises eight solo piano pieces written during a 2023 sailing trip, each linked to a specific location. The second part shifts to electronic production, incorporating modular synths, samples and rhythmic textures, created following a night at sea near Belfast. The project reflects Tiersen’s ongoing interest in location-based composition and the integration of acoustic and electronic elements.
Tiersen records at his studio on the island of Ushant, off the coast of Brittany and continues to tour internationally.
https://www.yanntiersen.com/ https://www.instagram.com/yanntiersen https://www.facebook.com/yanntiersen.official https://www.youtube.com/yanntiersen William Stokes Biog William Stokes is a producer, writer and artist in three-piece avant-psych band Voka Gentle. As well as being a critic and columnist for Sound On Sound, conceiving the popular Talkback column and heading up the Modular column, he has also written on music and music technology for The Guardian, MOJO, The Financial Times, Electronic Sound and more.
As an artist in Voka Gentle he has made records with producers from Gareth Jones (Depeche Mode, Grizzly Bear, Nick Cave) to Sam Petts-Davies (Radiohead, The Smile, Roger Waters), has had songs featured on franchises from FIFA Football to The Sims and has toured across the UK, Europe and the USA, playing festivals from Pitchfork Avant-Garde in Paris to SXSW in Austin, Texas. He has collaborated with artists including the Flaming Lips’ Wayne Coyne, Morcheeba, Panda Bear and Sonic Boom.
Alongside being a guitarist and pianist, he is a synthesis enthusiast with a particular interest in sampling and explorative sound manipulation. As a producer and engineer, he has made albums with acclaimed avant-garde musicians from composer Tullis Rennie to Mute Records artist Louis Carnell. “I’m always seeking out the most ‘out-there’, experimental, risk-taking musicians I can find to work with,” he says, “to capture vibrant, detailed recordings and create three-dimensional mixes of music that might otherwise struggle to know where to begin in the studio environment.”
Stokes currently lectures in Music Production at Cit
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