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But in this case, working with the films, it was very clear where I could take those GoPro cameras. I could hear not so much around the world, as the world on the bottom of a boat or the beauty in the birds and the rats in the gondola. It gave me a lot of faith that the way I was approaching it could be full of detail, and I think it has some of that and a lot of other things in there. I’m getting a lot of positive response from people and I hope there’s something for people to latch on to.

So I think there are layers of how to approach the ideas that a lot of the music on the album is trying to explore. The first layer is the idea of a film score. The second layer is how to make music for a film. The third layer is how to make a record of the sound of a film. So there’s a lot going on in the record. To try to articulate that would take me weeks.

We tried to play with natural spaces and we tried to make quite a bit of room for the film to exist within the record. That’s sort of the way the record developed. I don’t know if it was particularly successful or not. It was a way to explore some of these ideas of what films sound like and how they can exist in an album in a way that’s less prescriptive than that. It’s still kind of a shape.

We wanted to make a record that’s not going to be a reference to the films, not that they’re the soundtrack of the film. We wanted to make music that would be memorable and where the film could exist in a kind of timbral-soundspace. It was really kind of an attempt to think about a landscape of sound, like a sonic landscape. So that’s the way it started and the way that the record developed is in conversations that I had with the people I was making the record with. We spent quite a bit of time recording these conversations, just talking about what we were seeing as we were making the record.

The year’s end is a curious time to be asking this question, but I think it’s important to note that the reason why this album’s such a standout is that it’s a simple, straightforward album. Whereas the first two Maths Balance albums were constructed more as a sort of experimental jazz-rock album (with the instrumentation that defines the Maths Balance sound providing the foundation for sophisticated musical interplay), A Year Closer sounds like a straightforward acoustic folk album, with the folk influences keeping the album rooted firmly in the tradition while hinting at the more experimental direction that the band is known for.

This isn’t to say that Maths Balance aren’t a band to keep an eye on, but they’re not a band that is going to take off. But what they are is a band that is aware of the possibilities opened up by the technologies that have come along with the 21st century. And what they are right now is a band with a distinct set of skills, a set of ideas, and a set of new technologies that they’re experimenting with to expand their sound, and it shows.

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