FEATURE: Tulsa Experimental Indie Artist nathan.wright___ Explores The Dark Side Of VR On New Audio-Visual Release “Witch Dreams.vr”

Tulsa-based experimental indie artist nathan.wright___ has set out to create a multi-single release surrounding the techno-dystopian anxieties of the modern world. Now onto his third segment, Wright has shared “Witch Dreams.vr”.

“Witch Dreams.vr is a cautionary tale about a character that has stretched his consciousness so thinly between worlds that they’re unsure what is real, but their experiences are so vivid and pleasant that they begin to not care which is which”, he explains. “They lounge on a dreamy beach, go to parties, and fall in love. They give in to their enchanting hallucinations. They’ve set themselves up for a rude awakening“.

Dreamy orchestral flourishes and playful percussive rhythms provide a compelling soundscape where imagination flows. With a welcomed similarity to the lush poignancy of Radiohead and Portishead, and creative inspiration from Björk and Dawn of Midi, “Witch Dreams.vr” possess a certain magical quality, that is elevated by its accompanying visualizer. Striking black and white images flow into each other, building a world of wonder and mystery. Wright’s steady vocals become a narrator of sorts, as the music builds to its captivating close.

Check out the song here, and get a closer look into its inspiration in the latest Q&A just past:

There’s a wide range of subtle influences on the new single, but how would you describe your sound on “Witch Dreams.vr”? 

The first ideas in the song were the ukulele ostinatos, so it has this pokey polyrhythmic texture throughout (I’m a huge Dawn of Midi fan, maybe the only one left). I wanted the vocals and strings to be the opposite flavor, so those melodies move heavily like dragging something through water (in hindsight, it feels like Björk’s Vespertine era). I did tons of improv tracks and running stuff through pedals/twisting knobs. I took my favorite moments from that and incorporated them into the background. This feels undeniably like a Johnny Greenwood (Radiohead) thing.

How important is the relationship between audio and visual for your work? 

It’s important in that the mission is to release a music video with every song and expand the lore within a fictional dystopian universe, but it’s unimportant in the sense that the songs in this series are all designed to be interesting and emotive in their own right. I’ve had a great time learning to shoot and direct, and I get to work with talented creators like Lane Goza (animator) and Bryce Riedesel (cinematographer). Lane and I communicated for months to get the world of Witch Dreams.vr to feel right.

For “Witch Dreams.vr”, were there any specific influences that helped inspire the song’s sound & theme? 

Sound-wise, I approach these songs from a ground-up approach, so they start with some layers and get composed out into a bunch of possible outcomes before getting stripped down to where the end up. I’m never sure where they’ll land, which is exciting. It makes it feel as if it’s being guided in some way.

The lyrical theme remains in line with the techno-dystopian narrative I’m rolling out with each release. Every six weeks, a new single and video adds context to that fictional world. At least, I hope these themes remain fictional.

What can listeners expect on the upcoming releases? 

The songs in this project are broadly different sounds and production styles, so expect each song to be a surprise (another reason this isn’t an album, but a long-term episodic rollout). I’m collaborating with some of the best musicians I know in Tulsa, and their influences will show up throughout to keep things interesting.

I have songs recorded and mixed for release into March 2023 (including a 7-minute song that will serve as a video sequel to Witch Dreams.vr), and I’ve just finished developing music that will be released up to August 2023, so there’s a long way to go. The next release is Seed Phrases on December 15th, which will feature my first work as a director with an actual cast. Those that are interested can sign up to my email list at yeoldetulsa.net to get occasional updates about the project.

On the topic of VR, do you hope to use it as a tool for your music & art in the future? 

Yes, I’m optimistic about using virtual workspaces for creative and collaborative work in the future. Though I’m anxious about how many more things we’ll be able to do in VR that are destructive, addictive, or self-sabotaging. The story contained within this song is an exploration of someone that’s consensually lost track of reality and suffers some strange and awful consequences because of it.

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