by Margo Ruter & Peter Muller
Music has a special effect on our emotional landscape. The Swedes uncorked that mystery for us earlier this week. When we hear music, we adjust our feelings to the mood of the song, but not all of us remain on the receiving end of the treble clef. Nikolas Lund for example, performs, composes, arranges, produces, and promotes music while also running a recording studio and dabbling in acting. Occam’s Taser stole a meter of his time and asked him how he felt on the matter of mood, emotion and music.
Occam’s Taser: I guess we’ll start with the obvious. How did you initially get into music?
Nikolas Lund: I come from a family with a lot of music in it. My Dad played the guitar professionally, performing with a number of bands in Champaign, Illinois while I was growing up. He was able to jump between a lot of different styles of music, so I was able to see the same musician function in many different capacities. Now that I’m older, I understand the level of talent needed to be able to do that, but at the time it seemed like a very natural progression between different styles. It exposed me to a lot of difference within the field at a very early age.
OT: Did he pass down any specific knowledge?
NL: Besides exposing me to a lot of different musicians and records, he taught me to play the guitar. I remember him helping me strum through the Pink Floyd song “Wish You Were Here.” I still remember it exactly as I learned it too.
OT: Have you had formal musical training?
NL: Not really. When I was 16, I moved from the guitar to playing the piano. It was a primarily self-guided study. I had a few odd tutors here and there: a man who taught purely via what I’d call “poetics”; and another that wouldn’t even have me pick up an instrument during lessons. Again, being older now I understand what they were trying to teach me: that playing music is a much deeper experience than just knowing how to read music and learning the notes.
OT: So you do know how to read music?
NL: Yes. And more importantly even: How to notate it with precision. I’ve made it a point to hone the skill. It’s proven an extremely helpful ability to have while interacting with all these different types of players. My mother also had a musical background, and she was actually the first one to write out the notes of the treble and bass clefs for me, onto an index card which I still occasionally reference.
OT: Your parents seem to have been a major inspiration for your musical career. How about the rest of your family?
NL: I’d say both sides of my family are very musically oriented. They all really like music. When we get together, the discussions often involve music, new artists, recent concerts, etc. Certainly not all my family members are musicians, but they all seem to have an affinity for music on a broad scale.
OT: Did you always know you wanted to be a musician?
NL: Definitely not. I went to Trinity College (in Hartford, Connecticut) so that I could, as I stated it at the time, “learn how to write.” I played the piano frequently in my time there, sometimes just messing around, sometimes writing songs, but a career in music never really occurred to me. In my senior year, I had a substantial epiphany that put it all into perspective. In short, I finally realized that no matter what I pursued, I was dependent on music for my very understanding of the world, and that I would always return to it. I finished my degree in Philosophy and Modern Languages (French and German) and then moved directly to NYC to be a “starving artist.” Nevertheless, I wound up “eating” a little too much of the buffet, lasted 2 years, and then moved to Chicago in 2007.
OT: What have you been up to since returning to Chicago?
NL: Well, a little or a lot of everything: performing, composing, arranging other people’s music, running a recording studio, producing, promoting, and some acting. Much of my time now is devoted to my work in an artist’s collective called APTPA. It stands for: Artist Public Trust / Thinking Power America. We’re working to establish a broad network of artists, musicians, and performers, through the staging of elaborate events. Our last show was in an old house in Chicago’s Hyde Park neighborhood, and it was quite lively. I had a photographer at my feet while I was playing and others huddled around the piano. Sort of wild. I’ve got a show coming up now that’ll have me playing at a cabaret.
OT: Would you classify your musical work as belonging to a certain genre?
NL: It’s definitely not concerned with or indicative of any genres that I know about. I’m just trying to take everything that seems important into a new world.
OT: We recently featured a study that discussed the alteration of a listener’s emotional landscape based on the music they listened to. Do you consider emotions and music to go hand in hand?
NL: When you’re dealing with emotions and music, it’s everything vs. nothing. Once you allow a few emotions to come through, you’re dealing with them in relation to the rest of your feelings or you’re not dealing with them at all. On a good day, I can have a one-on-one correspondence between the, let’s say, “soul” and the piano. Some days, I feel like I barely know anything. One thing to remember is that mood is different from emotion. Mood is primeval. Mood determines the frame for the experience of emotion, which leads somewhere else in the same stream. If that makes sense?
OT: Does your music tend to express a current mood?
NL: To a certain extent, yes. In order to learn and progress, I usually record myself practicing. When I go back and listen, I can often pinpoint events in my personal history that influenced how I was feeling at the time. There are sometimes unexpected correspondences between the mood and the state. I’ve written some fairly bright and affirmative music in periods of extreme personal upset or misery. Of course, I’ve also written some stuff in that sort of state that comes out sounding upset and miserable.
OT: You have that degree in English. Do you ever put lyrics to your music?
NL: Oh yeah, all the time. But it’s so hard to write lyrics in English! For example, in French, the word “love” rhymes with over 50 other words, but in English, it only rhymes with four. How am I supposed to work with that?
OT: It’s commonly thought that musicians express a lot of emotion in their music. Are you able to understand emotions and moods in the music you listen to?
NL: Well, I’ve come to the realization that I’m on a long journey and that I’m going to continue to find myself in a lot of new and different places. I think that “getting better” at making music, for me, actually has a lot to do with the ability to control my emotions; or better yet, with the ability to be more comfortable with them as they are being experienced. In a “for good or for bad” kind of situation, I simply prefer the “for.” Otherwise I feel paralyzed. I think I’ll write much better music as I become less and less ego-heavy. With that in mind, I should be getting “good” any day now!
OT: Any favorites?
NL: I think The Beatles had more fun in the 20th Century than anyone. They were the quintessential “band”. John Lennon suffered from extreme emotions, but was capable of writing very emotionless music. And then there’s Paul McCartney. A cooler character seemingly, but the one who wrote “Let It Be” and “Hey Jude.” Aside from that, it would be a vast understatement to say that there’s a lot of different stuff I’m into. The new Sufjan Stevens album is absolutely extraordinary.
Nikolas’ artist collective, APTPA (www.aptpa.com) is doing some pretty amazing stuff. We suggest going to see them perform if you’re in the Chicago area. The Arts rely on the support of fans. Between his unique training and professional expertise, Lund helped us compose a perfect coda to this week’s research.