Today we jump into the Wayback Machine and head to September 15th, 2017, when I had a nice chat with Rasmus Rasmussen and Keith Canisius. Rasmussen is the keyboardist for psych rock titans Causa Sui, as well as recording under the name Aerosol. Keith Canisius releases under his own name, and most recently as Shortwave Broadcaster. Together, these two are the heavy synth duo Astral TV.
In 2017 the duo had just released their full-length debut Chrystal Shores with El Paraiso Records. A stunning LP filled with Komische-heavy synth vibes and shimmering guitars interspersed throughout. I absolutely loved the record(as well as the 2019 follow-up Travelling The Circuits.)
Here, we get into the music project’s origins, as well as influences and what brought these two to the world of synthesizers and electronic music. Enjoy. -J Hubner
For me, a record has to pull me from my surroundings and put me in another headspace. I want an album to paint something in my brain and make me psychically open up and let some of the universe inside. Music should be more than just mere entertainment; it should make you feel something. As a kid music affected me in a way that cartoons, movies, and books never did. My imagination bloomed when a song hit me the right way.
I think that’s why I’m drawn to synth music. There’s nothing obvious about the musical world an analog synthesizer is creating. You’re not being told what to think or what it means. There’s a visceral aspect to synth music that you don’t get with a rock album or pop single. It’s pure, raw emotional content that’s being pushed through tubes and circuits via the composer. They can lead you down a path to contentment and beauty, enlightenment, or sonic anxiety. They open a portal and you’re allowed to step in and see where it leads.
Astral TV is a synth duo based in Copenhagen, Denmark. They released their debut with El Paraiso Records, titled Chrystal Shores, back in July and it’s a record that opens many portals. Rasmus Rasmussen and Keith Canisius have created a modern ambient album that pulls from both a New Age lean and a Sci Fi vibe. If this album was a movie it’d be a cross between Kubrick’s 2001 : A Space Odyssey and Tarkovsky’s Solaris. Musically these two are taking some of the headier vibes of Tangerine Dream and giving them a bit of light, though at times the light feels a ways away. Astral TV create a warm and inviting sound that you can easily get lost in.
I had a chance to talk with Rasmus and Keith about the record, their influences, and the large amount of wires it takes to make the magic happen.
J. Hubner: So tell me about how Astral TV came together? How long have you two been making music together?
Rasmus Rasmussen: Actually Astral TV have existed less than a year. But the two of us have played together for some years now, accompanying each other in various projects. Then Keith was asked to play a concert last winter, and he suggested we do it as a duo instead, and that was the beginning of Astral TV.
J. Hubner: Who are some influences you guys are pulling from? If you had to name one album that you looked to for inspiration in creating the Astral TV world what would that be?
Rasmus Rasmussen: I guess it’s really a wide range of stuff, and quite different for each of us. We both love newer electronic music like Boards of Canada, Tim Hecker and that kind of stuff, but for me the classic kosmische kraut stuff is definitely a huge influence as well. The same goes for Eno and also late 90’es / start 00’es electronica and ambient. One album that has influenced the way I approach what we do with Astral TV would be “New Age of Earth” by Ashra.
Keith Canisius: I think we can pull a lot of inspiration from small things. I definitely wanted to bring the film music aspect into the picture. Allowing us to work with shorter sequences and mood presentations. I’m more interested in what people think it sounds like, than the few bands I could mention, when I think hard about it.
J. Hubner: Similar to the previous question, are there any films or film soundtracks that blew your collective minds that went into molding the Astral TV sound?
Rasmus Rasmussen: The Blade Runner soundtrack would definitely be an essential key to the Astral TV sound. That’s a record which has stayed with the both of us from quite early on and still is a big influence. For me the Popol Vuh soundtracks from the 70’es have also been a big influence.
Keith Canisius: Blade Runner yes. For me most sci-fi movies from the 80’s and 70’s. I liked Interstellar too. But mostly the sci-fi movies from my childhood. Some newer movies like It Follows was really nice too. Movies play a bigger inspiration for me than actual music artists in this project.
J. Hubner: What’s the writing process like for Astral TV? Do you two get in a room together with tons of gear and improvise until you like the vibe? Or do you share music files via the internet and just add to each others ideas? Do you each have your own futuristic-looking music stations, surrounded by synths like Edgar Froese or Rick Wakeman?
Rasmus Rasmussen: Some tracks are written by one or the other, and then the other supplies his stuff, but mostly we just get in my basement and jam. We both have our gear set up down there and live right next to each other, so when we are up for it we just meet after work or in the weekends and jam out for a few hours. We’ll record it all, and at some point we go through the recordings and see what works. Most of the tracks on the album were done this way, based on improvisations. It might be edited a bit afterwards, but as little as possible. We like to keep the spontaneity of it.
And yeah, both our synths setups are quite extensive. We are gear nerds, we like knobs and don’t do well with limitations.
J. Hubner: You’ve just released your new LP Chrystal Shores via El Paraiso Records, but this isn’t your first release. You released ‘Stations’, a limited edition tape in April via Funeral Tapes. Are there any significant difference between the two? Is ‘Stations’ available digitally?
Rasmus Rasmussen: Some of the material is the same, but there are differences in the track list. Some tracks are on the tape and not on the vinyl and vice versa. Also the production is a bit different. It was the tape that actually made us realize we had some material worth putting out. One of our friends runs the Funeral Tapes label and asked us to do the tape, and that made us dig through the recordings we’d done when jamming and found that there was stuff we could use. The tape is not out digitally. It’s a very limited release of fifty tapes, which can be bought from the label.
J. Hubner: First off, ‘Chrystal Shores’ is a stunning record of beautiful electronica and heavy synth. How long was the writing and recording process for the LP? It has a really heavy 70s vibe. A basement spin for sure, complete with beanbag chair and incense burning. Was that the aesthetic you guys were going for?
Rasmus Rasmussen: Thanks! Most tracks are essentially first takes and have only been played that one time of recording. So both the writing and recording process was quite short. The mixing as well. We only did what was necessary to make it glue and work as self-enclosed tracks. Some times new stuff was added, but it was all a very spontaneous process, without too much fiddling around. That way of working is completely opposite to how I’ve done my solo albums, meticulously building it up until you have a finished track. Here you just listen to hours of jams, occasionally going: “Wait, stop, there was a track!”. There was never a conscious intent on sounding retro, but I guess there’s something inherent in using these instruments in the way we do, that’ll pull the sound in that direction. With that said there was no attempt what so ever of avoiding that thick new age vibe – on the contrary really. I’m a sucker for that kind of stuff, and if we can do anything to mend it’s crummy reputation just a little, I’ll be happy.
Keith Canisius: This project is also opposite from most my solo stuff. Keeping it to the idea of music for film scenes makes it easier for me to free. Then I have some simple borders to work out from. We also want to be able to perform it live without any back tracks going on. Above mentioned ideas gives it a border, that makes it much easier for me to be creative. A track like “Surveillance” is really wild. The thought that we did that suddenly in the middle of a jam without speaking about it is pure magic. A lot of tracks happened like that, but that long track was something special. Special how the whole thing came alive in one take without any communication.
J. Hubner: I wanted to ask you Keith, you live in Copenhagen but you’re originally from Massachusetts, right? How did you end up in Denmark?
Keith Canisius: My father (Dutch) moved to Cambridge Mass., where he met my mother. They got married and had me. Later on they went to Holland, but the marriage ended. My mother took my brother and I to a friend she had from Harvard university, who had moved back to Denmark. She got settled and remarried in Denmark.
J. Hubner: What drew you two to the synthesizer? Did it start out with piano lessons as a kid then progressed to a Buchla set up in the family room?
Rasmus Rasmussen: I started playing keyboards when I was nine. It was the first instrument I learned to play. It was a fascination with 80’es synth bands that drew me to it. Aha and stuff like that, but more specifically the synth theme in Phil Collins “Another day in Paradise” played an important role. I was very much into that. So my parents sent me to keyboard lessons. I lost interest for a while, focusing on the guitar in my teens, but when I got into electronic music in the late nineties, I invested in samplers and synths and the collection has just expanded from there.
Keith Canisius: My brother had a Juno 60 and my stepdad had a piano and later on a grand piano in our home throughout my childhood. Although guitar became my main instrument in my early teens, I’ve always be fiddling around with keys in some way. When my music became more serious I got a Prophet 08, which I still use all the time. I also think guitar got a little boring at a point. So diving into the synth world was exciting for me.
J. Hubner: With the album officially out, will you guys be taking Astral TV on the road? I can only imagine that being a daunting task. Lots of wires I imagine.
Rasmus Rasmussen: Yes, we have a couple of shows lined up in the near future. Most of the tracks are essentially recorded live, so in that way it makes good sense, but we are still trying to figure out the perfect way of bringing it to the stage. We want to keep the spontaneity and improv vibe but avoid too much aimless noodling, so it’s about finding the right balance. And yeah, the amount of wires are enormous. We’re trying to limit ourselves, but it’s not working out very well.
J. Hubner: What’s next for Astral TV? Could we see a follow up to Chrystal Shores at some point?
Rasmus Rasmussen: A follow up is very likely. We’ll focus on playing shows for a while, but in that process we’ll probably be working on a new album. We are recording continuously and already have a good deal of material and a bunch of tracks that’s more or less done.
Keith Canisius: We have some nice new stuff already as Rasmus mentioned, and we are looking forward to exploring this world much much more for many years hopefully.