Lauren Squire
MESS Commissioned Artist, Sonorous X – November 2024
Lauren Squire is an electronic music producer and sound designer. Her practice focuses on experimental and ambient music, underground dance music, installation art and the spaces where these disciplines intersect. As an artist, Lauren forms one half of electronic duo OK EG, alongside her partner Matthew Wilson. Together, they create wholly immersive live sets, superbly textural, ambient techno that ensconces all listeners in reach. Producing and DJing solo under the alias Zosia Kossak, she explores the relationship between the human voice and synthesisers whilst incorporating heavyweight bass and rhythm into the mix.
How did you first get involved with synths and electronic sound?
I sang in chamber choirs from a young age until my late teens. This experience played a key role in my musical development, helping me understand tone and harmony. When I later began exploring synthesis, I found that my background in singing provided a solid foundation for grasping how sounds could be shaped and combined, which made the transition into electronic music feel more natural.
I began creating electronic music on my laptop in my mid-20s. I had no idea what I was doing and used the limited tools I had access to. My Grandmother gifted me her Kawai FS800, which has been described as “the worst digital synth ever made”. I recorded my voice and keyboard through the macBook microphone and made drum loops with the Apple stock drums on Garage Band. It was complete chaos, but there was creative freedom in not knowing what I was doing. I was having fun and getting ideas out.
I think this kind of approach has carried on since in my practice. I’m a minimalist when it comes to the tools I use and believe that if the idea is strong, tools can help, but shouldn’t be the defining factor around whether I can or can’t complete a work.
There was a point earlier on in my career when I began to reach a limit in my technical abilities, and it became frustrating to make music. I was drawn to the nuance and subtleties I was hearing in the dance music being performed and played at various festivals, illegal raves and clubs around Naarm. I wanted to be able to produce on the level of other artists in my scene.
In 2015, I enrolled in a sound production course at RMIT, where I later completed a Bachelor’s Degree in Sound Design and Composition. Here I met my partner, Matthew Wilson. We developed a strong connection based on our appreciation and love for music and sound. He gave me my very first synth lesson on his Roland SH101. Following this, we started to make music with one another and in 2017 formed under the moniker OK EG. We have been producing together ever since.
How would you describe the sounds you make today?
Where do you find inspiration, what motivates you?
I am inspired and motivated by artists. I recently visited the Joan Miró Art Museum in Barcelona and fell in love with the Painting on white background for the cell of a recluse. The work features three white canvases with a single black line painted on each one. Looking at these canvases, I cracked up laughing but couldn’t move away. A note on the wall to my right quoted Miró, “It took me only a moment to draw this line with my brush. But it took me months, perhaps even years, of reflection to form the idea of it”. I find this highly relatable.
As I’ve matured into my practice, I feel more comfortable with ideation and not letting guilt get in the way when an idea comes to mind but hasn’t completely formed into something tangible. Procrastination isn’t always negative. I’ve learnt to be patient with myself until I get to a place where I feel ready to start the music. This seems to keep me motivated and on track to fully execute an idea. I love finishing work. Completion motivates me a great deal too.
What’s been one of the most rewarding or satisfying moments of your journey so far?
So far, the most rewarding experience in this process has been gaining a deeper trust and understanding of my creative abilities, as well as my identity as an artist and what I want to communicate. My Sonorous piece explores the relationship I had with my late grandmother, Sandra Squire. Before starting the composition, I developed a written score that I’ve been referencing as I write the music. Each section represents a moment we shared or a core memory I have of her. Throughout this process, I’ve been sitting with the grief of her passing, which has been challenging at times, but also, there is a softness there. It’s like we are in the room together again. She was a very important person in my life, and I’m thankful to have the opportunity to make this work.
Do you have a current ‘go to’ set up at MESS? Any favourite machines or combos that you’re currently digging?
I have been using my personal setup which includes the Octatrack, Vermona Perfourmer MKII, Ableton and my voice. Other machines featuring in the piece include the Cwejman Eurorack System, Waldorf Iridium and Access Virus.
Are there any machines in the MESS collection you’ve had your eye on but haven’t tried yet?
I’m very keen to go deeper on the EMS Vocoder 2000 to see how that can pair with my voice.
If you could give yourself one piece of advice when you first started what would it be?
Lauren Squire performs at Sonorous X
Date: Thursday, November 14th, 2024
Time: Doors at 7pm
Venue: Primrose Potter Salon (Melbourne Recital Centre)