Diandra Interviews Terrell Hines: The Utopia/Dystopia of Sound

Dystopia/ Utopia are two words that ignite human imagination because they play with our fantasies and our fears. These are two things that every human being shares; a beautiful idea of the future and a terrifying one. In this notion, Terrell Hines’ St. Mark Rd. feels futuristic; an eclectic, vast array of sounds uniting, not to fall under a genre, but under a philosophy. In our interview, Hines discusses the inspiration behind St. Mark’s Rd and how his time in Berklee influenced him to see the importance of studying your craft. 

Diandra: What was the inspiration behind the title of St. Mark’s Rd, and if it was an actual place what would we be able to find there that most speaks about you? 

Terrell: St. Mark road is located in Dublin, GA where my first home was. It’s a 3 mile road with a tight communal feeling about it, at least that’s how it felt growing up. Everyone knows each other and goes to the same local church and same public schools – small town vibe. Living on St. Mark Rd. was very interesting. As I look back, everyone was happy and no problem in the world could take that feeling away. The community was filled with love and discipline and good energy. It taught me to appreciate the small things about the world from a young age. I received my first drum set on St. Mark Rd. at the age of two and I’ve been in love with rhythm ever since. From Flat Creek (which was the only creek that I used to get crawfish out of), to the honeysuckles that guides you up a hill, or the coyotes I used to listen to at night by myself – it’s all a representation of me. 

Terrell Hines – Get Up (Visualizer)

Diandra: Your music has been called abstract and artful, while also being raw and vulnerable. How do you feel vulnerability is vital for artistry?

Terrell: I think vulnerability is a key part to my artistry. I have to be able to communicate full ideas to the world and leave all of me inside of my work. The only way to do that is to be vulnerable.

Diandra: If you could attribute emotions and inspirations to each of your songs what would they be: Get Up, Feel Good, Living For Today.

 Terrell: “Get Up” is the entry point to the EP because of its genre-bending style, leaving the project open to exploration. It’s a post modern composition about plutocracy while experimenting with genres and timbre.

“Feel Good” is a piece that explores the unknown through  a curated musical landscape. I Really wanted to give the listener a auditory scene that reflects my emotions as an artist.

”Living For Today” just takes every song on the EP and basically shows an uneasy peacefulness through the narrative of a post apocalyptic ecosystem.

Diandra: Your album is tied to the question, “If shit popped off and society had to be rebuilt how would I do it?” What is your dream society?

Terrell: Overall, I would want society where people focused on solutions and work towards getting good results. Within that are many variables that could design something good or bad in these societies, but you never know until you try.

Terrell Hines – Feel Good (Visualizer)

Diandra: You music is a cross between images of dystopia and utopia. Looking back on your 24 years of life, what do you feel has moved you to be attracted to these terms?

Terrell: The term utopia is a term that humans gravitate toward. The word gives some people a feeling of hope. Dystopia is the complete opposite – why not let these worlds collide within the arts?

Diandra: What books and films have been inspirational to you as a songwriter/ music artist? If there were one you could make into a song what would it be and why?

Terrell: I couldn’t name them all but I read many music cognition articles to understand the history and trends on how humans listen and process sound. Without the sound, I can’t build the worlds I want to create. 

Terrell Hines – Living For Today (Visualizer)

Diandra: Describe the first moment you knew you were in love with music.

Terrell: It’s hard to answer that question. I’ve been around music for my entire life, its something I’ve always resonated with. 

Diandra: If you could describe music as a caretaker, what traits would you give her? 

Terrell: A portal 

Diandra: As a student of Berklee, what was your favorite course or professor and what important lesson did they teach about music?

Terrell: I had a few courses that played a major part of my artistry during my freshman year of college. I had a drum instructor named Kim Plainfield. He really was a straight forward, no bullshit type of person. It was all work as soon as we touched a drum kit – from reading music to playing different time signatures in as many genres as possible, mad music feel endless because he showed me so many potential outcomes and how to apply ideas in an unconventional way. Kim passed away my last semester in Boston. He taught me to never be afraid of any rhythm and always expressed the idea that all rhythms are connected at some point, you just have to be willing to let the dots connect. 

I took a directed study with professor Larry Watson. The course felt like performance bootcamp, somedays, in a good way. I learned records I have never heard before because Larry’s music repertoire was so wide. Not only did Larry show us how to pay attention to details in the performance, he really takes you through the history of black music and the importance of executing good business. The course simulated real life performance situations and that’s something very important that some people tend to overlook. 

Anthony Scibillia taught a class called Art and Conversation. It was a very intense course on philosophy, aesthetic, and performance. This was a game changing course for me. It taught me the endless possibilities of art how to play interpret different materials through timbre. For example, some days everyone would walk in and the class was divided in groups. Each week a painting would be up as your musical score, he would give a count off, and we had to be able to deliver. It made me explore being inside and outside the art work which is helpful when you are creating. 

Jason Stokes was a music production/engineer that I learned from. He was just always there when I need any information abut engineering, the music business, and just how to navigate as an artist and always told me go for it and be unapologetic about it. 

I love that response! Terrell Hines truly sees that you have to learn about yourself, your craft, and how the world affects both to invent your sound. For More Information On Terrell Hines. Click Here.