{"id":20600,"date":"2022-03-18T12:16:52","date_gmt":"2022-03-18T16:16:52","guid":{"rendered":"https:\/\/multi.nycnewsnetwork.com\/brooklynbuzz\/brooklyn-based-duo-live-footage-talk-about-composing-the-kanye-west-netflix-documentary-jeen-yuhs\/"},"modified":"2025-02-13T09:40:44","modified_gmt":"2025-02-13T14:40:44","slug":"brooklyn-based-duo-live-footage-talk-about-composing-the-kanye-west-netflix-documentary-jeen-yuhs","status":"publish","type":"post","link":"https:\/\/nycnewsnetwork.com\/brooklynbuzz\/brooklyn-based-duo-live-footage-talk-about-composing-the-kanye-west-netflix-documentary-jeen-yuhs\/","title":{"rendered":"Brooklyn Based Duo &#8216;Live Footage&#8217; Talk About Composing the Kanye West Netflix Documentary, Jeen-Yuhs"},"content":{"rendered":"<p style=\"text-align: left\">Brooklyn-based Cello and Drum duo <strong>Live Footage<\/strong> are no strangers to film. Their improvisational sonic designs have appeared in advertisements, tv shows and documentaries with many of the world\u2019s most recognizable brands (Monster Energy, BMW, HBO, BET, Vice, etc). Consisting of Topu Lyo (cello &amp; effects) and Mike Thies (drums &amp; keyboard), <a href=\"https:\/\/www.instagram.com\/livefootagebrooklyn\/\">Live Footage<\/a> holds a residency at NYC Chinatown cocktail bar Apotheke and have toured the United States, Europe, and Asia.<\/p>\n<p style=\"text-align: left\">It is no surprise that <strong>Live Footage<\/strong> were selected to score <strong><em>jeen-yuhs<\/em><\/strong>, the hit Netflix <a href=\"https:\/\/www.instagram.com\/kanyewest\/\">Kanye West<\/a> trilogy, produced by <a href=\"https:\/\/www.instagram.com\/coodierock\/\">Coodie Simmons<\/a> and <a href=\"https:\/\/www.instagram.com\/cozah\/\">Chike Ozah<\/a>. With the aforementioned accolades, and ten studio albums to their name, the experience and body of work was there.\u00a0 It certainly did not hurt that Topu and Mike had worked with the Simmons\/Ozah tandem before.<\/p>\n<blockquote><p>&#8220;Coodie and Chike really allow the people they chose to swim in their own lake. I really appreciate the creative freedom and openness. There were reference pieces, but those were only used to capture an emotion or just lead us in a direction.&#8221;<\/p><\/blockquote>\n<p style=\"text-align: left\">The score for the documentary fits like a glove; evocative, but never overpowering.\u00a0 Never competing with snippets of <a href=\"https:\/\/todayshiphop.com\/heres-our-top-moments-and-thoughts-about-the-donda-livestream\/\">Kanye\u2019s<\/a> music to be in the forefront.\u00a0 It crescendos gently and steadily with some of Kanye\u2019s greatest triumphs, while becoming eerie and introspective through Ye\u2019s battles with mental health issues.<\/p>\n<p style=\"text-align: left\">We had the opportunity to catch up with Mike and Topu to discuss their experience working on jeen-yuhs, and Live Footage\u2019s future plans.<\/p>\n<p><iframe loading=\"lazy\" title=\"jeen-yuhs: A Kanye Trilogy | Official Teaser | Netflix\" width=\"960\" height=\"540\" src=\"https:\/\/www.youtube.com\/embed\/i-e_YPO-RYc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><em><strong>Before we talk about jeen-yuhs, we\u2019d love to know more about Live Footage.\u00a0\u00a0Who are you guys, and what are you about?\u00a0\u00a0<\/strong><\/em><\/p>\n<p><strong>LF<\/strong>: We\u2019re a group that encompasses music production in many aspects.\u00a0\u00a0We started out as a classic \u201cband\u201d by writing and releasing albums and touring.\u00a0\u00a0Along the way everyone said we had a \u201ccinematic\u201d sound, so that led to doing other kinds of performances for dance, theatre, and film.\u00a0\u00a0We\u2019ve held a residency every Sunday at a speakeasy in Chinatown called Apotheke since 2010.\u00a0\u00a0Improvisation has always played a big part in our time together, and it heavily influences how we write for different mediums.\u00a0\u00a0We\u2019re always on the search for how to expand our sound, be it through equipment, collaborations, or inspiration from other artists.<\/p>\n<p><em><strong>How much of your time is spent composing for others vs. making music for yourselves?\u00a0\u00a0Are there differences in the way you work for each?\u00a0\u00a0<\/strong><\/em><\/p>\n<p><strong>Mike<\/strong>: When there\u2019s an active project happening, I usually only have time to work on that. Although, no matter how busy we are with something, I find it beneficial to force myself to just make something for myself.\u00a0\u00a0Oftentimes making music with no immediate \u201cgoal\u201d ends up getting used in something anyhow.\u00a0\u00a0As far as differences, I\u2019d say the overall approach is generally the same.<\/p>\n<p><strong>Topu<\/strong>: When composing on film scores, we&#8217;ve learned how to work in ways that best benefits the project. It becomes something more than about us and we&#8217;ve really learned a lot working with directors and editors. Sometimes they&#8217;ll place our music in a scene that we didn&#8217;t intentionally write for, but it works better than the cue that we had written for it. So, I\u2019d say, working on films feels collaborative and gives a sense of openness to what fits best while letting go of ego. Working for ourselves, I feel like we&#8217;re able to go way more left and it doesn&#8217;t have to be pleasing to anyone but our personal boundaries of comfort.<\/p>\n<p><iframe loading=\"lazy\" title=\"Live Footage Reel 2022\" width=\"960\" height=\"540\" src=\"https:\/\/www.youtube.com\/embed\/4Z-KQ7vMQcA?start=32&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><em><strong>How does a film or commercial go about selecting you for a score?\u00a0\u00a0Are you generally reaching out to Music Supervisors, or do they find you?\u00a0\u00a0<\/strong><\/em><\/p>\n<p><strong>LF<\/strong>: We\u2019ve been lucky that most people to come to us, but we\u2019ve also been working really hard for that to happen over the past 18 years.\u00a0\u00a0It definitely didn\u2019t happen overnight!<\/p>\n<p><em><strong>How did you find out you were selected to work on jeen-yuhs?\u00a0\u00a0What was that moment like?\u00a0<\/strong><\/em><\/p>\n<p><strong>LF<\/strong>: We\u2019ve known Coodie and Chike for quite some time now.\u00a0\u00a0We scored \u201cMuhammad Ali &#8211; The People\u2019s Champ\u201d and another short they made, so we were on their radar.\u00a0\u00a0They were regularly coming to Apotheke to chill for a while, and right before the pandemic hit, Coodie hinted at something like jeen-yuhs, and later we found out we were on board.\u00a0\u00a0We were very excited at the prospect and magnitude of this project, but when we started getting the first cues to work on, we nearly had a meltdown every day watching the incredible footage. It felt like a lot of pressure to live up to, but fortunately C&amp;C are really great people to work with.<\/p>\n<p><em><strong>Director Coodie Simmons comes across as a great guy throughout the trilogy \u2013 how was it working with Coodie, and how involved was he in your process?\u00a0<\/strong><\/em><\/p>\n<p><strong>Mike<\/strong>: Coodie and Chike are truly great guys.\u00a0\u00a0We kind of always thought of them as friends, and we\u2019ve worked a lot before, so we knew it was going to be easy.\u00a0\u00a0\u00a0Coodie was absolutely involved as far as choosing the right music and such, it\u2019s his 20-year-old passion project after all.\u00a0\u00a0Really the editors were the ones we had the most contact with. Shout to Jason Harper and Max Allman.\u00a0\u00a0They both have such great taste in music, and a great musical ear for edits.<\/p>\n<p><strong>Topu<\/strong>: Coodie and Chike really allow the people they chose to swim in their own lake. I really appreciate the creative freedom and openness. There were reference pieces, but those were only used to capture an emotion or just lead us in a direction. They worked closely with the editors Max and Jason and the whole process was incredibly fun. I think they really &#8220;got us&#8221; and &#8220;understood&#8217; our sonic palette and respected what we do.<\/p>\n<p><em><strong>Out of the music Live Footage composed for jeen-yuhs, how much actually appeared in the film?\u00a0\u00a0<\/strong><\/em><\/p>\n<p><strong>Mike<\/strong>: We probably made over 100 pieces that weren\u2019t used in jeen-yuhs.\u00a0\u00a0That\u2019s great though, they\u2019ll be there for us for something else down the road.\u00a0\u00a0We like to think of it as \u201cusing all parts of the buffalo\u201d lol.<\/p>\n<p><em><strong>Your score is so ambient, open, and light, which provides welcome relief from some of the film\u2019s more jarring moments.\u00a0\u00a0How did you feel about the arrangement when you saw it for the first time?\u00a0\u00a0<\/strong><\/em><\/p>\n<p><strong>Mike<\/strong>: They made perfect sense as a juxtaposition to the jarring moments.\u00a0\u00a0From the beginning it was clear that there probably wouldn\u2019t be too much beat based music as to not compete or clash with Kanye\u2019s stuff.<\/p>\n<p><strong>Topu<\/strong>: I felt very proud when seeing it\u00a0with friends in the theatre. I felt like the conversations that happened immediately after were about the movie and then secondarily we talked about the music and how that helped drive the emotion of a scene or the story we wanted to tell. It was there to be heard but not in your face.<\/p>\n<p><em><strong>Did you have any direct or indirect contact with Kanye before, during or after the release of the film?\u00a0\u00a0<\/strong><\/em><\/p>\n<p><strong>Mike<\/strong>: Not really. We went to a premier in LA and he was there and watched Act 1.\u00a0\u00a0At the afterparty we tried to talk to him, but obviously there was a flood of people doing the same thing.\u00a0\u00a0Topu was sort of next in line to talk to him, but he walked away.<\/p>\n<p><strong>Topu<\/strong>: I was about to say what\u2019s up but to the three people he had talked to before me he was saying like &#8220;yo long time no see&#8221;, &#8220;It\u2019s been so long\u201d &#8230; so, when I was next, I was like nah, I\u2019ll wait for another time when it\u2019s not this intimate.<\/p>\n<p><em><strong>From an invitation to Sundance Film Festival, to the popularity of Jeen-Yuhs\u00a0on Netflix, this film must have opened up some awesome opportunities for Live Footage.\u00a0\u00a0What\u2019s next?\u00a0\u00a0<\/strong><\/em><\/p>\n<p><strong>LF:<\/strong> We\u2019re working on the final touches for an album coming out in a few months with the writer of jeen-yuhs, J Ivy.\u00a0\u00a0We met him through Coodie and Chike at Apotheke in 2019 and he said he wanted to do something together.\u00a0\u00a0So, he flew out from Chicago, and we booked a day at the Bunker studio in Brooklyn and just improvised.\u00a0\u00a0We had very little idea of what he actually did, but it was a magical session for sure.\u00a0\u00a0We were super excited when we learned he got brought on board to write jeen-yuhs.\u00a0\u00a0Otherwise, we have a Cello Quartet album coming out later this year, that we\u2019re collaborating on with an amazing visual artist, Louis Reith.\u00a0\u00a0There\u2019s an \u201cApotheke Live\u201d album that\u2019s also ready to go for 2023, and we\u2019ve got some other film related projects in the pipeline as well.<\/p>\n<p>&nbsp;<\/p>\n<p>by\u00a0<strong>Jack Carenza<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Brooklyn-based Cello and Drum duo Live Footage are no strangers to film. Their improvisational sonic designs have appeared in advertisements, tv shows and documentaries with many of the world\u2019s most recognizable brands (Monster Energy, BMW, HBO, BET, Vice, etc). Consisting of Topu Lyo (cello &amp; effects) and Mike Thies (drums &amp; keyboard), Live Footage holds [&hellip;]<\/p>\n","protected":false},"author":5893,"featured_media":20601,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[30],"tags":[],"class_list":["post-20600","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts-and-culture"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v23.4 (Yoast SEO v26.6) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Brooklyn Based Duo &#8216;Live Footage&#8217; Talk About Composing the Kanye West Netflix Documentary, Jeen-Yuhs - Brooklyn News and Events<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/nycnewsnetwork.com\/brooklynbuzz\/brooklyn-based-duo-live-footage-talk-about-composing-the-kanye-west-netflix-documentary-jeen-yuhs\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Brooklyn Based Duo &#8216;Live Footage&#8217; Talk About Composing the Kanye West Netflix Documentary, Jeen-Yuhs\" \/>\n<meta property=\"og:description\" content=\"Brooklyn-based Cello and Drum duo Live Footage are no strangers to film. 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