What inspired the name of the band? What are your influences and are they the same as when you started out?
The artist name “DiipSilence” actually comes from the meaning of my original Chinese name — it translates to “deep profound” or “deep silence.” I’ve been influenced by artists like Björk, Röyksopp, and CocoRosie since I was young. Lately, I’ve been into Marina Herlop, Aïsha Devi, and Lafawndah. I’m especially drawn to artists who weave in lots of field recordings, sound effects, foley — anything that blurs the line between music and the real world.
How and why?
All my songs start with sound. I usually go out to record field recordings, then manipulate and twist them into something new. I get excited transforming a raindrop into a drone or thunder into a kick drum. Sound design always comes first — the lyrics and melody are built on the “vibe” I create through these recordings.
As for themes, I let the sound guide me. I don’t chase themes — they emerge from the sonic world I build.
I believe everything is connected. So anything — literally anything — can be music.
Back in school I was a math major, and I noticed how deeply math and music are related. In the same way, every sound has the potential to become music.
When I write, the sound leads me — outward to the universe, inward to myself. I don’t know exactly why I make this kind of music — maybe it’s curiosity. I’m fascinated by how a single sound can morph into something entirely different. That transformation pulls me in every time.
How and why?
All my songs start with sound. I usually go out to record field recordings, then manipulate and twist them into something new. I get excited transforming a raindrop into a drone or thunder into a kick drum. Sound design always comes first — the lyrics and melody are built on the “vibe” I create through these recordings.
As for themes, I let the sound guide me. I don’t chase themes — they emerge from the sonic world I build.
I believe everything is connected. So anything — literally anything — can be music.
Back in school I was a math major, and I noticed how deeply math and music are related. In the same way, every sound has the potential to become music.
When I write, the sound leads me — outward to the universe, inward to myself. I don’t know exactly why I make this kind of music — maybe it’s curiosity. I’m fascinated by how a single sound can morph into something entirely different. That transformation pulls me in every time.
Live?
Honestly, it depends on the architecture of the track. Some songs were built with so much randomization — like using Max/MSP to generate note patterns or phrase selections — that they’re basically one-of-one. For those, I’ll bounce the stems and build a performance set in Ableton Live. It becomes more of a curated DJ set with sculpted transitions, FX automation, and scene launching.
Tracks with lyrics, vocal elements or more structured arrangements, I’ll run those through a hybrid setup: vocals live, backing tracks built into Ableton with some flexibility for on-the-fly tweaking — filter sweeps, delay throws, etc. The goal is to keep the energy fluid but intentional. I’m not trying to carbon-copy the studio version — I’m giving the audience a one-time version of the track that only exists in the live performance.
Live?
Honestly, it depends on the architecture of the track. Some songs were built with so much randomization — like using Max/MSP to generate note patterns or phrase selections — that they’re basically one-of-one. For those, I’ll bounce the stems and build a performance set in Ableton Live. It becomes more of a curated DJ set with sculpted transitions, FX automation, and scene launching.
Tracks with lyrics, vocal elements or more structured arrangements, I’ll run those through a hybrid setup: vocals live, backing tracks built into Ableton with some flexibility for on-the-fly tweaking — filter sweeps, delay throws, etc. The goal is to keep the energy fluid but intentional. I’m not trying to carbon-copy the studio version — I’m giving the audience a one-time version of the track that only exists in the live performance.
What plans do you have for the future?
More music, of course! Right now, I’m in the middle of building my Atmos studio so I can dive deeper into immersive sound design. I’m super excited about it — I hope to bring more immersive experimental music and sound installations into the world soon.
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