To Top

Conversations with Roy Regev

Today we’d like to introduce you to Roy Regev.

Hi Roy, thanks for sharing your story with us. To start, maybe you can tell our readers some of your backstory.
In the past decade, I collaborated with and produced for various musicians nationally and internationally. My sound adventures led me to join the avant-garde collective of musicians We Are Ghosts that recorded site-specific albums in caves, festivals and Art Basel Miami. I created sound environments for exhibitions and various projects, including the archival-exhibition project Outlet (Station923 Gallery, Ithaca, NY), with curator (and wife!) Rotem Rozental, and Jerusalem’s Indie Music Festival, Frontline, which I co-artistic directed.

In New York and Tel Aviv, I performed live with groundbreaking artists such as Lee Triffon, Petite Meller, Rotem Or (Totemo) and Tesha. My body of work includes indie projects, such as Monotalk, and electronic experiences under my solo title, Mono27.

In a weekly music column for the Israeli magazine Pnai Plus, I explored the inner realms of Israeli music for six years. Further deepening my commitment to the realms of culture, art and music, I worked as writer and editor for media outlets in Israel such as Maariv, Yedioth AharonotHa’aretz and other lifestyle magazines.

Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
It wasn’t a smooth road (working on art never is) but although I always had a day job in the non-profit world, I couldn’t give up my continuous sound explorations.

Most of the struggles, in my case, involved around time management and selecting the right projects for me. Also, budget and expectations do not always go hand in hand. In my case, working on both commercial and indie projects gave me a good perception and balance between work and passion.

Appreciate you sharing that. What else should we know about what you do?
As a musician, sound-scaper and producer, I think my ability to synthesize digital platform with analogue circuits, as well as my ability to work with other musicians and creators to bring out a new and different approach to the studio set me apart. I can visualize the way I want samples, computers and synthesizers to interact with each other when producing songs, and I’m not afraid to connect pop and pleasing melodies with harsher sounds and effects. When working on art projects, I like to get tactile and recreate a world from sound and samples, manipulating real-life sounds using technology and sound tools.

One of my latest projects is a collaboration with the very talented co-producer Lee Triffon (Lee & Roy). I had hoped to find the right opportunity to collaborate with her for a very long time. Luckily, a few years ago we both found ourselves living in L.A. and were finally able to join forces. We share an artistic vision and musical taste. We also come from very different musical backgrounds and therefore complement one another in many ways. Those contrasts make the process of crafting the production sound and songs very inspiring and exciting. This is why collaborating is so important for me.

What matters most to you? Why?
I guess that for the most part, I want my life to be interesting. If a project does not keep me engaged, I know it’s not for me. In all my projects, I try a new thing excites me. Keeping myself out of my comfort zone usually does the trick. I guess that being repetitive is the thing that scares me the most, so I try to constantly reinvent the way I work.

Contact Info:

Image Credits
Nir Yaniv, Yves Bright

Suggest a Story: VoyageLA is built on recommendations from the community; it’s how we uncover hidden gems, so if you or someone you know deserves recognition please let us know here.

Leave a Reply

Your email address will not be published.

More in local stories