I love crowds and it’s really fun to play for people, but I don’t live off the applause.” “You know when you’re younger, you want a lot of applause. For Bützer, live performances of these works are more about a fundamental desire to create than a service to ego. Though his music career never recaptured the heights he achieved in Hong Kong, Bützer has remained a diligent and steadfast maker of art and music, film and live theater. He takes his beats from Marc Ribot and Sonny Sharrock, and cites Italian film scores and chamber folk as driving influences in the recordings he studiously self-publishes to his Bandcamp page.Ĭredit: Jeffrey Bützer / Kaitlin Crawford To this day, Bützer’s music is best understood through cinema minimalist arrangements that swell and breathe, compositions best suited to accompany film. I watched David Lynch films and Jean-Luc Godard films that made me realize movies can be a statement and not just entertainment.” You can have an accordion and upright bass album, an orchestral album.’ It didn’t have to be all guitar and drums all the time. I heard Tom Waits and John Zorn and realized you didn’t have to have a genre. “For me, music was always linked to film.
He wrote his first screenplay at 15, and his enduring love of film would later influence his music heavily. And then I eventually picked up other instruments.”Ī voracious consumer of media, Bützer’s youth was spent reading comic books, skateboarding and working at the local movie theater. She would play these metal songs on piano and I would play along on drums. I learned to play drums when my mom had her midlife crisis, and she got really obsessed with heavy metal. “My mom was a church organist and pianist.
He was homeschooled and began to show musical promise when he was 8. An honorary native of Atlanta, Bützer moved to Marietta from Ocala, Florida, at age 3, when his dad’s job brought the family north.
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