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Once upon a time there was a guitar player who wanted to expand his musical creativity. In 2006, he picked up a pair of turntables, a mixer, some vinyl records, and began DJing. Everyday he would practice until one day he thought, "I need to start making music like the stuff I am spinning." This was the beginning of Sutherland's Sound (SutheSound). A musical journey into the ubiquitous nature of sound..............His main style of production is centered around drum rhythms, African percussion, and Latin American sounds. On a variety of tracks you may hear Sutherland playing the bass and/or guitar in order to incorprate a human element/natural feel into his production projects. While DJing, you may hear him spinning, Afro/Latin house, Deep house, Vocal/Soul house, and an element of Blended House.

 

"Generally, I like to play what I think sounds good (something you can bop your head to) or can be danced to, sometimes both."

 

 

I see that music is heard by everyone, but it is not always listened to by everyone.  I make music so people can interpret it themselves without the vocals influencing your interpretation of the beat.  I hear beats, rhythms, melodies and tones as another language.  To me, they communicate with the listener and tap into a part of the brain that drives inspiration.

There is a certain beauty when sounds coalesce to create something, but what is that something? The answeri is: It is how you interpret it.  You may hear something good, bad, beautiful, or list long of feelings, either way it will still be reflective of your genuinely distinctive interpretation. 

On various occasions I like to use vocals.  Vocals are musical instruments that effect emotions; they too drive inspiration, and create different feelings within a person.  But, sometimes I find vocals to be too direct when understood. This may interfare with the listners coginitive abilities, not allowing the listener to feel the way they want to feel because words are very powerful.  With the aformentioned thought in mind, a majority of the time I like to use vocals in languages I do not understand.  Then I put instruments according to what I interpret from the vocals. Later on I see if the translation matches up with how I interpreted the voice I heard.  However, for most of my production I prefer to eliminate vocals all together, so you, the listner, may enjoy the inner workings of your own thoughts in accordance with the sounds you are hearing.  Your thoughts add another element to the music to make it more interesting, whether you value or devalue the sounds you hear or don’t hear.

My sound is now for your interpretation.

Enjoy

Sutherland