Recording artist specialized in producing & curating sonic content.
As a performer, poet, composer, her work, mostly chamber in size, strives to address all that permeates culture. Therefore, she has been initiated in the transdisciplinarity of performative practices and would be curios to further explore it through collaboration and research.
15 years were dedicated to her formalized music education in the Netherlands and Romania. She graduated from her bachelor studies at Prins Claus Conservatorium and completed a master research paper in jazz improvisation at Codarts University.
Invested in the inventive aspect of music, she variably switches hats as a curator, conductor, radiophonist or songwriter for projects other than her own, in search for collaborative music making. In 2021, she started broadcasting her most recent works on Radio WORM, in Rotterdam, her show being called DöRöT's undulating frescoes.
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1 ReviewsEndorse Suzana Lașcu
Suzana has been one of the most ambitious and productive members of the RE#SISTER community, a group facilitated by WORM in Rotterdam and their vintage electronic studio. She made a radioplay for the nation-wide broadcasting station Concertzender.nl, she performed twice in live programmes at WORM, and several other collective projects. I love her voice and inventiveness on unconventional instruments, like various exotic string instruments. She is great at digital audio editing, and does not mind spending long working hours to reach the high standards that she has set herself.
Interview with Suzana Lașcu
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I produced, scored and recorded the music for a short animation that's about to come out this year. It was the first of its kind within my portfolio and the beauty of it was its multifaceted nature as a hybrid publication that included curating a digital space and blending its artistic component with archival practices rooted in research and history.
Q: What advice do you have for a customer looking to hire a provider like you?
A: If I send you score sketches for a project I need to write for, do not be disappointed by their apparent simplicity. I focus most of all on evoking the mood of a piece through the textures I pick and the layering that might emerge *during* the recording process.
Q: What are you working on at the moment?
A: Delivering a weekly set of music for my one-hour stream on WORM Radio every Friday night.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: My macbook, the interface, my op-z and the 2 speakers.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Mark van Bruggen.
Q: Analog or digital and why?
A: Coming from a fundamentally analog world, I inevitably gravitate towards it, for the unaltered richness available at one's fingertips and ears. The body of sound tends to also be a lot more authentic than in the case of digital/sampled instruments. And this applies to both electronic or acoustic instruments. My current personal interest lies in exploring fully modular synthesizers, which is my next frontier right now and I must say I'm a "hands-on" learner when it comes to patching and such.
Q: What do you like most about your job?
A: Having the satisfaction of foreseeing in my ears a recording which is about to become a work of art on its own, thanks to its production elements and conceptual identity.
Q: What questions do you ask prospective clients?
A: I'm mostly curious about the psychology of a piece, the characters within and the desired effect.
Q: How would you describe your style?
A: Eclectic, yet very much informed by contemporary classical music and electronic music.
Q: Which artist would you like to work with and why?
A: David Byrne, for his fluid and constantly evolving songwriting and producing styles.
Q: What was your career path? How long have you been doing this?
A: I've been following the path of the performing artist for 2/3 of my life, while pursuing similarly creative paths as a composer, arranger, conductor, poet and visual artist. I've been a sound engineer/recording artist for a couple of years now, my improvement proving to be exponential in the last 6 months, having released 4 records of my own while concomitantly delivering on other people's projects, either live or in the studio.
Q: What questions do customers most commonly ask you? What's your answer?
A: How I ended up in the Netherlands, to which I explain why I wanted to complete my education here. This way I can introduce them to the fields I managed to specialize in.
Q: What's your 'promise' to your clients?
A: That I'm dedicated to cooperating closely with them by asking questions and adjusting the ongoing outcome according to their taste/necessities/requirements/feedback.
Q: What's the biggest misconception about what you do?
A: That I'm all over the place, stylistically, which is erroneous, since what I'm doing simply doesn't have accurate descriptive labels yet.
Q: What other musicians or music production professionals inspire you?
A: John Zorn, Danny Elfman, Carla Bley, Björk, Solange, Radiohead, Crumb, Meredith Monk.
Q: Can you share one music production tip?
A: Always mind the macro aspect of your production, the incipient elements that may spread easily into the layout of your project; it helps the workflow.
Q: What's your strongest skill?
A: My ability to make trans-disciplinary & inter-conceptual associations, as well as my dense harmonic vocabulary.
Q: What do you bring to a song?
A: Melodies that won't conform to the mainstream trend, harmonic suspense that triggers the appropriate tension within an audience and an overall sonic arch/structure that proves to be a journey on its own. In titling content or lyrics writing, I also tend to impress with my use of metaphors and the curatorial nuances I bring to a whole album, from song to song.
Q: Tell us about your studio setup.
A: I work in a treated environment, with one of the industry's best sound interfaces, accompanied by a pair of fine and vintage Genelec speakers. My professional network allows me to borrow instruments from my peers and experiment widely with them, as can be observed on my Instagram.
Q: What type of music do you usually work on?
A: Improvised, experimental, contemporary.
Q: What's your typical work process?
A: I listen first to the client's content and, depending on the situation, I either record multiple improvised takes that end up being the raw material for a song or I design textures in my libraries that match the intended outcome or mood of a product or piece.
Q: Describe the most common type of work you do for your clients.
A: Commissioned work as an electronic composer or songwriting for other artists/bands.