As I was working on the cello album, I was simultaneously doing some abstract painting, and I found the process to be very similar where the more that I controlled it, the less it becomes what I wanted it to be. On the flip side, the more I allowed myself to enter into the process and to just go with the flow, the more I am pleased with what’s developing or what’s being created. So this nebulous or abstract process was really fun for me. It’s opened up some new doors into wanting to do more instrumental stuff—maybe not under Future Of Forestry but just for my enjoyment.

CCM: I was just getting ready to ask whether this would inform what comes next since you enjoyed it so much.
Yeah, I am working on some instrumental stuff that will be under that different entity. This process has allowed me to explore one end of the spectrum. As a musician, for me, I enjoy vascillating between different extremes of what I can do. The opportunity to get out more of the pensive, quiet, orchestral type of music, my next Future Of Forestry album might be on the other end—more song-oriented with drums, bass, guitar, instead of something more orchestral. It might change, but I find myself wanting to satisfy both extremes.


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