John Hiler, composer & producer

Who or what inspired you to pursue a career in music?

I come from a family of classical pianists, going back to my great-grandfather, Francis Moore.
As a child, I would fall asleep to the sounds of my father practicing Chopin and Bach. Aside from my classical training, I was also an early computer hacker, building electronics and computers as soon as I could hold a soldering iron. My combination of skill sets in music and computers set me up for success as an early expert of all things computer music and digital recording. But perhaps the most important contributing factor is that music is my life’s saving grace, and I could not imagine life without it.

Who or what have been the most significant influences on your musical life and career as
a composer?

From an early age, my favourite composers were the Impressionists – Debussy, Ravel, Satie, etc.
Their extension of harmony as the natural progression of everything that had come before, with the added influence of American Jazz, struck just the right balance of consonance and dissonance for me. The vocal works of Ralph Vaughan Williams, and I also enjoyed Stravinsky, Holst, and Mussorgsky, but more specifically, those via the electronic versions by Isao Tomita. And of course, Wendy Carlos’ Switched-On Bach. This hybrid of classical music performed on early synthesizers was the perfect storm for someone of my dual interests. Later in high school, I would transition to Jazz Fusion and Progressive Rock, as a segue to more modern colour palettes while maintaining a high threshold of virtuosity. Ironically, it wasn’t until studying composition at conservatory when I was introduced to more mainstream genres, and more importantly, I opened my mind up enough to understand that beauty didn’t always need to be expressed in fancy vocabulary to effectively communicate emotions. Working in modern genres today has only further expanded that awareness. A perfectly crafted pop song that sticks in your head is no less a work of art than a world-class French pastry.

What have been the greatest challenges/frustrations of your career so far?

The fact that we don’t live in a meritocracy. That success in the music business, like many other industries, is not solely judged on talent, ability, or accomplishment, but rather is often determined by secondary factors like connections, nepotism, politics, marketability, and most
of all, dumb luck. As Malcolm Gladwell said, most success stories have on average 6 to 7 serendipitous moments behind them. All we can do is show up every day and be ready for it, like the definition of luck, “when opportunity meets preparedness”.

How do you work? What methods do you use and how do ideas come to you?

Every project is different. I wear many hats, depending on the roles required. Sometimes I’m writing a pop song with an artist, sometimes I’m watching a film to spot cues with a director. But what remains the same across the board is that I spend a great deal of time getting to know the people I am working with. Trust requires time and effort, and the better I know the people involved, the more we are on the same page, the better the outcome. I will spend days, weeks, and sometimes months, just getting to know the collaborators well, so I can then confidently say I know what everyone’s goals and visions are, and then accurately represent them and champion them in the final work. Composing is a solitary business, but making music is collaborative.

How would you characterise your compositional language/musical style?

I’m a Renaissance Man, and I don’t mean Palestrina. My style depends on the genre. In popular music, I’m known for having an eclectic, sometimes unconventional approach. In scoring, I tend to reflect Romantic and Neo-Classical influences, filtered through the lens of contemporary electronic instrumentation. Generally a balance of familiarity and adventurousness, but not afraid to explore dark or big emotions, either.

Of which works are you most proud?

All of them! They are like children to me – each with their own unique qualities and personalities. To say I was most proud of one would be to betray the rest!

As a musician, what is your definition of success?

Success is defined by attaining the goals we set out to accomplish. We must do it for ourselves, first and foremost. No one else. If we’re not happy with the work, then no amount of external praise will convince us otherwise. External praise is beyond our control, so to value our work by the opinions of others is to cede control of our own happiness.

What advice would you give to young or aspiring composers?

Strive for excellence in everything you do. As Nadia Boulanger said to Quincy Jones, “your music can never be more or less than you are as a human being.” Your mind and body is your instrument. Take care of your body and mind, and you will be a better composer and musician. Read every day – Philosophy, Biographies, Literature. All human wisdom is contained in books. Meditation, yoga, daily exercise, healthy diet, a supportive social circle, not too much unhealthy behavior, but not too strict, either. All things in moderation, including moderation. Limit doom- scrolling.

What’s the one thing we’re not talking about in the music industry which you really feel we
should be?

Composers and artists I work with usually benefit from a reminder of priorities and from reconnecting with the real reasons we went into music in the first place. Reminding them not to worry so much about what the labels, managers, lawyers, and marketers tell us to worry about – streaming numbers, social media followers, likes, etc. While those are components of any modern career in the music business, they are ultimately distractions from doing our best work.

What is your present state of mind?

I am in a flow state, addressing every decision and opportunity that comes my way with the
confidence that I will rise to the occasion and deliver results that will exceed all expectations. The joy of that peaceful state is that I can focus exclusively on being present for the people I am working with at any given moment. This allows me to listen deeply and hear things nobody else hears. Still water reveals a clear reflection.

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