The swell is important to Ryan Lee, aka Rival Consoles. “I realised that hardly anyone has done that in electronic music,” he says. While that may not necessarily be true – Throwing Snow, Stellar OM Source and Jon Hopkins have all used it to great effect in recent times – he’s certainly on course to making it his own. ‘Philip‘, the standout track from Odyssey, his latest release for Erased Tapes, ebbs and flows with the power of truly great emotion. The opening moments see the delicate push-pull of rubato quavers, crescendo and dimmenuendo, crescendo and dimmenuendo. This swell carries on throughout the track, even as harsh plucks and feather-light percussion floats around this main theme. Three minutes into the track a sudden stop and a sharp intake of breath seem to indicate closure, instead leading into another minute of more frantic push and pull. On an entirely different tip, ‘Voyager’ takes a bright, almost tropical melody and pitches it against squelching effects and, again, swelling, sliding synths. It’s even clear from the eponymous opening number that warm, sumptuous chords are Lee’s stock-in-trade. An ever-rising phrase that begs for resolution sings over a plodding, one-note bassline, while crisp percussion holds it all together masterfully. It’s dancefloor ready, but exudes a lustre that sets it outside the realm of simple club fodder.
‘Rebecca’ is a buzzy, playful number, switching between virtuosic melodies and obtuse layering at will. A short vignette, it displays a touch of frivolity compared with the angst-ridden ‘Philip’. ‘Soul’, featuring Erased Tapes label-mate Peter Broderick, is a reworking of the vocalist’s ‘Proposed Solution To The Mystery Of The Soul’, featured on last year’s These Walls of Mine. A funky, stomping number, it takes Broderick’s brooding vocal and injects it with power and pace, closing the release with an even more, dare we say it, soulful palette than one might have thought possible. All told Odyssey is a successfully diverse collection of tracks, with enough consistency of sound to negate any sense of waywardness, as well as fitting in perfectly alongside the more classically minded releases on Erased Tapes.
Stream: Rival Consoles – Voyager (Erased Tapes) (via XLR8R)
Words by Aidan Hanratty, 17 October 2013. Leave a comment
Voiski might not be a name you’re necessarily familiar with off the bat but we’re certain you’ve heard his music out on dance floors in the last year. Based in Paris his most recognisable track to most will likely be “Ad Infinitum” which was released on Construct Re-Form last year as part of the first release of a trilogy of EPs called the Unforeseen Alliance. Arguably one of the biggest techno sleeper hits of 2012 it was featured in Joy Orbison’s now revered Resident Advisor podcast and by Ame in their equally as impressive Tsugi mix. Striking the perfect balance between melodic hypnosis and repetition done right, the track builds its way up to a beautiful crescendo that works the peak time club moments like no other.
With the second Unforeseen Alliance release dropping last month along with another EP on Parisian label Syncrophone, Voiski still manages to fit in being one of the minds behind innovative net label Silicate Musique as well as working on a series of other aliases and regular collaborations. One of these takes form as Kartei with Crysta Patterson (Donna Renka) with whom he released a record with on the excellent W.T Records. With a blossoming music scene starting to happen in Paris and people starting to see it for the creative hive mind it is for young producers we caught up with Voiski, one of the many people responsible, for a small chat whilst he kindly provided our eighty second Truancy Volume. With his music having caught our ears for a while and recently having caught the ears of a certain label owner from New York, the mix is an elegant outlook and representation of the music that makes Voiski tick and we’re extremely proud to be sharing it.
For those who might not have heard of you before can you start by giving us an introduction to who you are, where you are from and how you initially got into producing and Djing? “I’m a French electronic producer from Paris. I grew up here and discovered electronic music in the nineties thanks to a very generous and older Italian cousin ha Ofcourse he was Italian as at the time that sound wasn’t very easy to find here. I was mainly listening to techno and electro very early on and I got into Djing at around the age of sixteen. Producing came one year later and I eventually started some side projects and collaborations. One of these is Kartei, which is a form of techno-cyberpop performing band which I work on with Crysta Patterson (Donna Renka). There’s also some other projects but I won’t go into detail on them here.”
You are one of the minds behind the Silicate Musique imprint, which we’ve been following and loving for some time now. Can you tell us a bit about the ideas that went about starting the label and the music you release on it? “I started the label together with Thomas Bethmont and Boris Dlutowski in 2008. Since the start it has always been a non profit DIY label ran in a micro-economy. We started as a free download net label just releasing some music from local artists in Paris, but after two years we decided to stop releasing ‘music for music’ and instead focus on more conceptual projects which we submit to the artist. We like to call it ‘protocol music’. We basically propose them an idea to work on such as a movie, a science fiction novel etc. and then the artist is free to do whatever he wants, be it even choosing the release format. Our last release for example by Rkob was released on VHS video tape and we even did some releases on flopping disks. We’re adamant that it has to make sense with the nature of the project however.”
I also wanted to ask about the Silicate workshops. How do these usually go about happening. Is it in a similar vein? “Yes, it works in nearly the same way. We propose a work protocol to a small group of artists which is usually constituted by free open internet submission. It is more about practising than technical learning. Sometimes we’ll make noise with different objects people bring and sometimes we’ll make noise using old video games, effect pedals and even data found on our hard drives. After a sound research during the workshop we propose a public live performance at the end of the day. We record the sessions and whenever something special comes out, we do the editing and propose it as a new release for the label.”
Moving on, Resident Advisor recently did a video on Paris as part of their Real Scenes documentaries which featured quite a few of your tracks. RA did a brilliant job in showcasing a part of Paris people might not have heard of before but we’re keen to ask about your own take on the city and if there’s anything you’d like to add on from that video. What keeps yourself based in Paris? “The RA documentary wasn’t really talking about the music made in the city. To put it simply Paris is full of artists, labels and exciting creations in electronic music and that’s the huge reason why it keeps me here. Being surrounded by a sincere and passionate community is something really important for a music scene. There’s people like Zadig, Dscrd, Antigone and the Dement3d guys and then there’s Ligovskoi, Nox Factio if you’re looking for something more on the noise ground. They are all responsible for the sudden blast here in Paris.”
Along with music, we also discovered that art and design is something you are very interested in. When did this interest start and are we right in thinking you might have studied it? “I think my interest in art started at exactly the same time I discovered techno music. The CDs in my cousin’s bag were all very minimally designed and often used metallic blue or grey pantone with very simple graphics in a similar way to Warp’s Designer Republic or !K7 covers. My first real graphic emotion was further amplified by my first musical emotion when I took the record out the sleeve and started playing a certain special record. ‘We have to sterilize the population.’ When I got older and I wondered what to do with my life, I went to a weird art school in a small city north of Paris called Cergy. At the time it was renown for their experimental sound department. Whilst there I learned a lot of things, from computer programing to field recording, but it’s also the place I learned patience, subversion and also developed a certain love for repetition.”
Can you tell us a little bit about ‘Mamali and His Doves In Art’. From what we can understand it was an album of music produced by you for this art exhibition? “Mamali Shafahi is an Iranian artist and a good friend of mine. He was kicked out of our art school for tying and blindfolding his performance teacher to a sport bench whilst walking on him naked and singing a Marilyn Monroe song. Was pretty awkward to watch, but still Iranians stick together, so before going back to Teheran he asked for a soundtrack for his next exhibition and I was really happy to accept. He explained me the ideas behind the exhibition and gave me the titles of his 13 pieces and then asked me for a slow techno mini-album. It was released on Silicate at the same time as the exhibition.”
In a past interview you stated you were working towards finishing a Kartei album. Is this still something that is happening and can you tell us anything about it? “Yes for sure it is definitely happening. We’ve got a couple of tracks finished for it. Most of them actually have come from our latest live performances. Since we got used to creating completely new songs for each live show we found out that we ended up with a load of tracks. So at the moment we are basically re-recording the greatest hits. It’s going to be a wildly colourful and weird album. We might have to find a label to release on it but we are working on that.”
Can you go through some artists that you are currently feeling right now? “At this very moment I am a great supporter of the Spectrum Spools label with guys such as Container and Outer Space doing great things. There’s also the sublabel of Mego which is currently producing some of the most innovate and almost danceable music at the moment in my opinion. There is also Svengalisghost, my dear flatmate and Steve Moore who are both on L.I.E.S and both incredible artists. I’d also like to congratulate Mr Abdulla Rashim for his constant work on Horizontality. Well done dear friend.”
Can you share any information on what else is coming up for you this year release/production wise? “There are two new records to be released pretty soon! The first ‘Spotlight Diktat’ will be released on a young label called Sheik’n’Beik and the second one ‘IAI Movement’ will be released on L.I.E.S on the 15th October.”
Finally, can you tell us about the mix you have recorded for us? “It is a mix made with vinyl on two technics and a very basic mixer. Its content sums up my confusion towards contemporary dance music and the doubts I have when I see where techno is going sometimes. Since sharing my turntables with Svengalisghost I’ve also been watching and leaning towards records on other parts of my shelves. Records which are generally more for listening and not necessarily for djing. It starts with some slow techno but a big emotional upheaval can be expected.”
Words by Riccardo Villella, 16 October 2013. Leave a comment
2013 has been a busy year for Leon Vynehall. Not content solely with working his way through a hectic touring schedule, the Brighton producer has also spent considerable time in the studio with releases on both AUS Music and Well Rounded Housing Projects this year. Coming courtesy of Martyn’s 3024 imprint, the Open EP forms the latest addition to Vynehall’s increasingly impressive discography.
Opener “I Get Mine, You Get Yours” kicks off the four track EP in fine fashion; its’ pounding drum pattern the platform for abrasive synth stabs, morphed horns and an eerie and barely decipherable vocal snip. It’s the second track – “Step or Stone” (Breath or Bone” – which is the star turn here however. A menacing vocal is powered along by stomping percussive strikes while the winding, jarring synth melody is unquestionably infectious. A perfect big room weapon.
The frenetic nature of the A-side is eased somewhat by “I Know Your Face, Heroine”. The EP’s third cut is noticeably calmer, awash with soothing keys and a deep bassline. It only proves to be brief respite however with “XVII (Rox Out)” upping the ante once again. This time clipped vocals accompany a punching percussive beat that is guaranteed to get fists pumping and feet moving. Less conventional than the other tracks, it’s a perfect exhibit of what separates Vynehall from some of his peers as he continues to reinterpret familiar formulas in idiosyncratic yet perfectly club-friendly ways. Vynehall has certainly been on something of a hot streak lately and Open no doubt continues the producer’s upward trajectory.
Stream: Leon Vynehall – Open EP (3024)
Leon Vynehall’s “Open” EP is out now on 3024.
Words by Matt Gibney, 15 October 2013. Leave a comment
From Lee Gamble’s decimated ‘ardkore to Rashad Becker’s alien teleportation devices, the past few years’ output from Bill Kouglias’ Pan has been singular in both quality and reach. Despite a uniform tendency towards the outer limits, the often restrictive dance music world has embraced Pan with open arms, even as far as takeovers of “bass music Top Of The Pops” Boiler Room. Though often abstract, the connections Lee Gamble, Becker or Heatsick have to that world are written into the DNA of their work. Others, however, are more difficult to place. One such example is Helm, an alias of Luke Younger whose label Alter co-releases new the Silencer EP. Though he’s been operating for a number of years in and around DIY noise scenes, last year’s Impossible Symmetry LP was something of a watershed moment. On it, Younger joined a raft of auteurs from techno, drone, noise and beyond expertly continuing the lineage of post punk experimentation far into the future, a terrain so fruitful it’s fast becoming the dominant aesthetic in underground circles.
If this record can be considered a companion piece to last year’s, its title track certainly acts as an addendum to that LP’s “Liskojen yo”; although this time round Younger displays an almost uncharacteristic lack of restraint. The wiry, dying yelps that populated that piece are redoubled for the sequel, with uncomfortable whinnying feedback as disorienting as it is antagonistic. There’s a glimmer of Muslimgauze in the arcane drum patterns but a closer bedfellow might be found in uncompromising noise legends Wolf Eyes’ recent material, where their ever-present blasts of painful of high end have been given new emphasis through the use of ominous space and submerged rhythmic patterns.
That’s not to say the desolate drones of the previous LP have taken a backseat to a maelstrom of noise. Punctuated by muffled kicks, “Mirrored Palms” opts for the slow burn instead, its suffocating atmosphere gradually giving way to an infinitely reaching horn inhuman in it’s endlessness. Elsewhere, on closer “The Haze” stop-start rhythmic clicks evoke some hitherto unknown primitive, machinery drenched in darkness.
An obvious comparison is Raime’s widely acclaimed output on Blackest Ever Black, but where their work is undermined by an almost digital rigidity Helm’s is characterised by an extremely organic ebb and flow. Younger’s indecipherable combination of found sounds, electro acoustic techniques and subtle electronics is the key to this, successfully blurring lines to the point it’s impossible to determine the original sources of any given element.
It’s in this that Younger is a sound artist in the truest sense of the term, and it’s the quality that defines Pan’s roster. That the wider club music world has committed itself so fully to the label is understandable past the six (or less) degrees of separation that connects Pan’s artists to more dance floor friendly fodder. In a world where even those on the fringe are opting for the well worn twin clichés of being ‘rawness’ and ‘distortion’, it’s affirming to be presented with sound worlds of which only their creators truly hold the key. May their infiltration continue.
Words by Simon Docherty, 14 October 2013. Leave a comment
Often abbreviated as BAT, Best Available Technology is the alias of Portland based producer Kevin Palmer. First appearing in 2012 on Stephen Bishop’s now highly prolific label Opal Tapes as a split release with OND TON; BAT then went on to put out the impressive Excavated Tapes 1992-1999, Vol. 1 the following year on the always on point Astro:Dyanamics. Delving deep into a massive cassette collection he found when clearing his loft, the release featured some of the audio explorations he produced and recorded to tape throughout the nineties. Despite some of the tunes being made more than over a decade ago, BAT’s sounds operate effortlessly between approximations of warped techno, house and industrial noise rhythms that comfortably fit alongside the productions of some of his fellow label partners. With a seven track EP also released on Further and his recent contribution to the excellent BASH series on Style Upon Styles we had a long chat with Kevin about his formative years listening to hip hop, the Forbidden Planet soundtrack and his video creations among other things. With the news of a forthcoming EP on a well respected UK label and the prospect of some exciting collaborations too, Best Available Technology might be one of the most humble yet interesting producers to emerge in the last two years.
Just want to start with asking when did you take the first steps to getting your music released. Did people reach out to you or vice versa. “Well the first thing I did if I remember correctly is try to do a Myspace thing when someone told me about it. I’m always a few steps behind with the internet stuff. Like I appreciate it for what it is but I don’t really keep up with it if you know what I mean. I’m a little out of touch with that haha So I started doing the Myspace thing when I was doing this project with my buddy Max and that felt weird and I wasn’t really into it. I guess it was just my first taste of social networking. I can’t remember what time I was introduced to Soundcloud but it totally felt right and and it’s social network elements at the time felt really small and minimal to me. You just put your sounds up and sit back I guess. I was then fortunate enough to start chatting to Ben Thomas (BNJMN) who had obviously heard some of my stuff which definitely helped and I’m sure he played some of my tracks to Luke Owen over at Astro:Dynamics. Then Stephen Bishop from Opal Tapes getting in contact was completely out of the blue.”
You mentioned your friend Max. From what I understand it’s he who originally came up with the name Best Available Technology. Can you tell us a little bit about that? “Well, I moved back to Arizona for a year from Portland and he was already living there and he’s a writer and was pretty much a sound head as well. He does some spoken word stuff as well. I actually need to give him a lot of credit for helping me feel confident about my sounds. Like I had never really played my stuff to anybody. I have tonnes of friends who are into music and play in bands and stuff but I felt they wouldn’t be into my corner of music you know. So Max was totally into it and felt good about it and came up with the name. The name actually stems from written regulations in law to do with future tech and pollution problems. We have a lot of old stuff recorded actually which is great and I really enjoyed working on that stuff with him. I’m super proud of it so one day I’d like to get it out there.”
Are you generally quite open to collaborations and working with other people then? “I love it. It’s actually one of my favourite things about this and using any exposure I may get to connect with people that have the same kind of ideas about sounds or at least are into the same sorts of music I’m into. I’m working with two people at the moment who I can’t really mention who they are right now (there’s a clue in his Sonic Router mix). I’m just super excited about it though as both these guys do the coolest stuff.” In another interview you stated that you exchange production techniques with OND TON a fair bit. Was wondering if that had developed any further than just casual conversations about production? “At the moment no but then again Hugo is hard to get a hold of haha We’re friends on Facebook and every once in a while I reach out to him to try find him again. He likes to keep a pretty low profile I think. He’s such a nice dude though and his music is amazing. He should have had his own tape. He didn’t need me on there too haha That guy definitely needs to fill out an album full of his own music.”
We were reading a past interview and from what we can understand you listened to a lot of hip hop in your early days of production. Three 6 Mafia and Ice-T right? “I did. You know not so much way back. I don’t even know when they were putting stuff out, maybe 92? I guess I’ve always leaned towards that West Coast stuff like N.W.A and Ice-T. It was fascinating you know, being a kid in Southern California and then all of a sudden all that gangster rap explodes and it like really changed the culture for a young male in that part of the world. I was massively into skating at the time too and it seemed like all my friends were into this type of music. They were probably responsible for leading me onto that type of stuff actually. But you know what, I was still listening to a lot of punk rock stuff at the time. Loads of stuff such as JFA and other things on that level.”
Going through your influences list for the Ransom Note we couldn’t help be drawn to the Forbidden Planet soundtrack and how you mentioned that film and tv and had a massive impact on you too. “I guess when I put together that list I felt like the stuff I listen to at the moment wasn’t that at all interesting for an ‘influences list’ but with the Forbidden Planet stuff it’s the complete opposite. My idea with the list was to come up with stuff that I had heard before I even thought about doing music myself. Like before it even occurred to me that I could even do that or have an aptitude for it you know. So with film and tv the first interest would definitely be like the sci-fi elements, being a nerdy little boy and loving anything that had a whiff of science fiction and outer space. Then there were the sounds and there’s nowhere you can really hear that stuff. Those sounds were just so alien and unsettling. It must have been so bizarre hearing that when the film came out in 1956. So without even knowing it those sounds had a big influence on what I love about making sounds myself.”
We were also excited to discover you do your own videos for your tracks on Youtube as well as for others, such as that John Heckle Remix of Bantam Lions. Interested to ask how long you’ve been interested in those side of things as well. “Well we got a video camera when me and my wife had our daughter in 2000. It was just a Hi 8 so I couldn’t do anything digitally with it and I can’t really edit myself. I love photography and visual arts though so when I got a copy of Vegas I just started screwing around with it. Every time I use it to make one of those videos it’s just an experiment for me . What I like to do with it and because my computers have never really been that fast, is I can mess with the visual effects and automate things but when I play it back it doesn’t really look right and it kind of skips around. When you eventually go to render it, you never really know what it’s going to end up looking like. A good example is the video for “Ebb Uncut” which was released on Astro:Dynamics. The way it’s real shaky and the squiggles move really frantically, that wasn’t the intention. When I was making the video it seemed like everything was really smooth and fluid but it still kind of worked in the end.”
Going back to Excavated Tapes we wanted to talk about the selection curation for it and how you decided which works to commit to tape and which to leave off. “Well, I devote a chunk of time to ripping tapes. It’s such a long process and I have to sit and monitor them as the levels are usually pretty all over the place and I kind of have to ride the fader from the tapebox to the computer to make sure the levels are somewhat even. I guess a mastering person could fix them but I still want to make sure I can hear what’s going on myself. In addition, a lot of the tapes are really old and physically they’re a little bit fucked. I’ll start to play them back and I’m like ‘These are hammered, there’s no way they’re going to work.’ Sometimes it’s just a case of the spools being a little messed up and needing tightening but that’s always the initial process. Then I’ll end up with like one tape as long as two forty five minute sides that are full of sounds. I’ll go through and basically chop out the embarrassing parts. I had this funky little tape deck and I would just turn it on and record everything, so on a thirty minute tape there might just be fifteen minutes of me just screwing around with the SP12 and filling it with sounds and doing the most ridiculous approximations of a hip hop beat. Some of it sounded so dorky haha At one point I had a turntable and I would try and scratch and record it in. That will probably never see the light of day ha However I’m in the process of ripping some more stuff at the moment which I’m hoping will come out on Excavated Tapes Volume 2. So yeah I chopped out the embarrassing parts and sent the rest of it to Luke (Owen) who then sequenced and compiled the release.”
In a past interview you stated that when you were initially trying to make beats you would try approximate the hip hop you loved yet the approach was really naive to you. Do you think being naive back then helped contribute to the style of music you were making? “Yeah I do for sure. There’s definitely something to be said about approaching creative endeavours with that level of uncertainty, surprise and experimentation. Like I still don’t really know what I’m doing but it’s different now. Like I love gear and I love reading about it and I’ve just had that more exposure over the years to it all. I’ve still never had a guitar lesson and I don’t fully understand theory but I’ll learn a chord here and there. Maybe now on the mixer I’ll have a kick on one channel and a snare on another and so on but back then I would just have a drum machine going into a pedal into the tape deck ha So sometimes I have to kind of slow down and remember that it’s still fun to just use that crappy gear in the moment.”
Moving on, in an interview with Stephen Bishop he states that “his love for cassettes stretches beyond mere nostalgia and to him they’re legitimate sonic vessels for the music he loves.” Wanted to ask about your personal relationship with cassettes and what is it about the format that draws you to it. “Well, it’s funny you ask that because as I look around to the corner of my room where I have my gear there’s a milk crate overflowing with tapes that I need to organise. Just spilling everywhere. I’ve always had a tape player and there’s still one in my car. I don’t think I’ll ever get a CD player in my car. The one in there is a little bit beat up by I just love it. As a kid most people I knew had access to a tape recorder of some kind and it would be the first time you could capture sounds and play them back. It was pretty fascinating for me in ways and yeah that’s the beginning of the relationship. Then you just begin collecting them and it was always the format that I bought music on. It felt more accessible and portable than records, even though I’ve definitely bought many records over the years too. With the tape deck you could buy a tape and listen to it right there. Through the nineties they were also super cheap so you’d go into a record store and come out with handful of used albums for a fraction of what you’d pay on vinyl. Was very cool for like hip hop stuff where I could just buy it and drive around listening to it minutes after haha It’s a cool medium for music and even though I’m not a fan of when they start to get that tone drop out it’s still a format I’ll keeping coming back to. Cassettes have been pretty popular for experimental electronic music for a while it seems and even though I’ve never sought out that stuff I’m pretty sure there’s a healthy movement of people doing tapes. My exposure to that stuff actually comes from chatting with Stephen Bishop about sounds and he’s turned me on to a lot of cool stuff from that world. I’m a little out of touch with the more recent music but it’s something I enjoy being part of to an extent, you know.”
You’ve just had a release on Style Upon Styles for their BASH series. Can you tell us a little bit about that? “When they approached me for it I knew what the concept was and I loved it. I do quite a lot of different stuff and I don’t tend to stick to one style of music but I’d like to think there was some continuity in what I do. So for an opportunity to do a release that was a little conceptual and having a different kind of sound on each side was great. So I went through my stuff and picked out some tracks that I thought would be appropriate for it and then they made the final call. Getting some four by four stuff out felt right too as I had remembered listening to a lot of stuff by Bandulu, Jeff Mills, Jay Denham and a lot of tracks on Black Nation records and being blown away.”
With the Style Upon Style release was Nazusk, the designer of the stencilled jacket, chosen by you? I know he’s based in Sheffield so keen to know how you first heard of and got in contact with him. “I heard of him from this little zine called Nut City, which I think I first saw on Rewind Forward. They threw up a little thing saying check out this zine and I was blown away by his art. I’ve always been a big fan of graff so I saw his stuff, crossed my fingers and threw it out there for Phil from SUS to contact him and yeah he was cool enough to do it. I’m super proud of it and I’m so happy he was down for working with us. If I had the money I’d love to do some T-shirts! It just looks so cool. It resonates so nicely with the spirit of collaboration that I love so much about all this. What a crazy world we live where I can see his work on the internet and do this partnership haha Just this little package we’ve managed to all put together.”
Can we expect any live shows from you in the future or is this something that doesn’t interest you at all? “Never never, haha. Actually I will do some live stuff eventually I think, I just don’t feel like I have a way to do it that will be interesting to people. I don’t really have the drive to get out there in the world and voice my music on people at the moment. I don’t know actually, maybe I’m too much of a perfectionist but there’s also the reality that it scares the shit out of me haha I’ve done it a couple of times and it’s terrifying. I did actually do a performance with Max and my friend Jeff around around 2010 and somewhere out there on Youtube there’s a five minute thing of us doing this thing at an art gallery. That was a crazy experience. We basically did this droney, real drifty gig for what seemed like hours and there were these rock bands playing after us. That was fun but for the time being live shows may be a while.
Finally, what else can we expect from you in the near future? “I’ve got something coming on Left_Blank. That label is such a good look. I love the sonics and the aesthetics. There’s such a variety of sounds yet a strong continuity that I really admire. So there’s that and then I’m ripping a bunch of tapes to come up with more stuff to send to Luke. There’s also the collaborative endeavours that are in the work which I’m excited to get out.”
Words by Riccardo Villella, 08 October 2013. Leave a comment