ARTISTS

 PHOTO: NETTI HURLEY

PHOTO: NETTI HURLEY

CORBI 

#1 LET'S START FROM THE BEGINNING - WHERE WERE YOU AND WHAT WERE YOU DOING WHEN YOU MADE 'COSMO'? 

I was in my home studio (in Ibiza) just jamming. I'm in the process of learning music theory and playing with chords. I was feeling pleased, it's nice when you make something that you had set out to do in your head. I remember wanting to use some nice 909 drums I'd found for a track, The whole thing was made around those drums and a pad sound I'd made. But it was the chords set the tone for the whole vibe though. 


#2 "IN MY ARMS AGAIN..." THE LYRICS IN THE TUNE ARE QUITE POTENT - DO THEY REMIND YOU OF ANYONE YOU HAVE, OR ANYONE YOU DON'T HAVE? 

Actually it was a happy accident. I wanted a vocal and have some acapellas which I skipped through until something sat right. I wish there was a more moving reason but it was just a case of tinkering away and the hitting the bullseye. 

#3 WHAT WERE THE REASONS BEHIND CALLING THE TRACK 'COSMO'? 

I said before I was a fan of old hardcore rave records, well I was listening to some old tracks and one I loved popped up on YouTube called 'Up Keys' by Cosmo and Dibbs and the name Cosmo stuck in my head. 

#4 WHAT ARE YOUR MUSICAL INFLUENCES? 

So much over the years - very much influenced by music from 92/93 hardcore & jungle, especially the jungle techno stuff on labels like Basement. Then discovered Detroit artists like Jeff Mills & Kevin Saunderson (E-Dancer), labels like Underground Resistance and fell in love with it, I've always loved house since I was old enough to really get it. I'm certainly much more into tracks that have the funk and a disco vibe or a straight up dubby techno growler. I love slow lazy dusty day time grooves too, oh and hip hop in the 90's smashed it for me. So lots really, in fact I hear too much good music that's inspiring and influential, half the time I can't decide what I want to make.

#5 YOU'RE LIVING IN IBIZA FOR YOUR SECOND WINTER - DO YOU FIND IT'S A GOOD PLACE TO GET CREATIVE, AND DO YOU EVER GET FRUSTRATED OR LONELY? 

I love the winter here, it's way busier than you'd think and there's a cool vibe in the winter, there are events at Sankeys and Pikes so enough to keep you busy.
But I like the quiet and the calm in the winter, it's a way more productive environment as I'm easily distracted, so not being disturbed too much suits me fine. 

Photo and video credits: Netti Hurley

 

 

CORBI FEAT. HYDE + SEEK - 'COSMO'

 

PATH

#1 WE FIRST CAME ACROSS YOUR PRODUCTIONS THROUGH YOUR WORK AS WILL & HELD - WHEN DID PATH FIRST TAKE SHAPE AND WAS THERE ANY DIRECTION YOU WANTED TO GO AS A SOLO ARTIST?

So I had previously released music under my own name a few years ago. A lot of it crossed several genres (all be it poorly) and I ended up pretty unhappy with about 90% of it. This Path alias is a chance to put out the kind of music that I listen to and used to play out when living in Leeds.

#2 LET'S SET THE SCENE - YOU'RE LOCKED AWAY IN YOUR STUDIO IN LEEDS - CROMWELL STREET TO BE EXACT. WHAT'S THE MEMORY OR MOMENT THAT YOU CAN RELATE MOST TO THE TRACK? WHAT DOES IT MEAN TO YOU? 

Hmm. So our studio was based in Mabgate, Leeds which is a fairly industrial area. I was freelancing full time and splitting my time mastering and writing music for publishing. I would spend long days there, sometimes 15-16 hours at a time, particularly if Rich (Held) would join in the evening. I think I got the email from Anna basically stating to ‘go wild’ and saw it as a perfect opportunity/platform to launch a new alias with very little restriction which was nice… They were long and exhausting days as anyone who runs a studio or freelances knows I’m sure. I think there was a lot of excitement to be relieved from that for a while.

#3 WHAT STUDIO EQUIPMENT WERE YOU USING AT THE TIME? 

A lot of it was running live through an old analogue Tascam Desk, I think an M320 if I remember right… I had multiple delay and plate simulation pedals running on aux sends. The main stab sound you can hear throughout was a percussive drum pattern vocoded via Ableton and a Korg Volca Keys. It’s a pretty fun way to build up dubby patterns quick. A lot of the drum sounds were from old 1/4 inch reel to reels I had recorded over the years. From there I remember having some external processors patched in such as the TK Audio BC-1. It’s an immense compressor and pretty decent value considering the versatility.

#4 AND FOR THE RECORD WHO ARE YOUR INFLUENCES? IF YOU COULD PERSONALLY DELIVER THE TRACK TO SOMEONE TO PLAY IN THEIR SETS WHO WOULD IT BE? 

Influences on this track around that time were guys like; Mike Dehnert, Deepchord, Fluxion, Rhythm & Sound etc. We used to play a lot of Dub & Reggae in the evenings when we finished work so I guess that crept in also. To be honest I’m pretty stoked if anyone deems my music decent enough to play out, Scuba dropped one of my tracks in his Hotflush Recordings Podcast in October. That was pretty cool.

#5 ‘CROMWELL STREET' WILL BE YOUR FIRST SOLO RELEASE AS PATH. WHAT ARE THE NEXT STEPS FOR YOU? WE HEAR YOU'VE RELOCATED TO CANADA TOO - TELL US MORE ABOUT YOUR TRAVELS...

So yeah, since my last trip in London I’ve now moved to Canada. I was over freelancing and in need of a change of scenery. I’m working as an audio post production engineer for the next 6 months in a small town called Banff at the Banff Centre for Arts & Creativity. It’s been -30 here the past few weeks and there isn’t really any recognisable music scene. It’s definitely a contrast to living in the UK but it’s nice to be experiencing something so different. Musically, I’ve got several bits lined up on Baum, Vitalik and This Is It Forever. I plan to move onto Vancouver in the summer and start putting out releases again. I’m excited to check out the scene there as I keep hearing great things.

 PHOTO: NETTI HURLEY

PHOTO: NETTI HURLEY

 PHOTO: ANNA WALL

PHOTO: ANNA WALL

THOMA BULWER

#1 – THE FRENCH PHRASE ‘NUIT BLANCHE’ TRANSLATES TO ‘WHITE NIGHT’ IN ENGLISH. TELL US A LITTLE BIT ABOUT THE TRACK… 

Nuit Blanche or ‘White night’ is a saying I picked up from my teenage clubbing days in Brussels, Belgium. It really stuck with me and seemed super fitting for the track as it switches halfway through with this Juno riff that emerged while writing as the sun was coming up - it all made sense and came together. It was when I was also getting into using hardware samplers again with my Roland 606 on drums. I remember giving you the track early doors and hearing you play it out somewhere in east London - you were playing such lovely deep warm up set, so it felt like the perfect fit for the Bricks!

#2 – YOUR TB MASTERING STUDIO IS BASED IN YOUR HOME IN HACKNEY WICK. WHAT DO YOU FIND THE MOST INSPIRING ABOUT YOUR LOCAL SURROUNDINGS?

It’s the community here that I find inspiring. Just walking out and about and bumping into friends and artists, there’s still nowhere quite like it in London. Despite all the recent changes, the sense of togetherness still gets me and it just feels like home. I also love the canals - I was born in Holland so it feels comforting hearing the chugging boats and wildlife. Having a professional home studio also really suits me, I like to be able to work when inspiration strikes (what ever time of the day or night) and it definitely helps with rent costs in the competitive musical industry that we live in today where you need to have your figures in a few pies to make it work. 

#3 - THESE DAYS YOU USE RECORDED LIVE MODULAR AS A BASIS FOR MOST OF YOUR MUSIC. TELL US ABOUT YOUR FOLLOW UP SINGLE ‘VOICES’

I spend a lot of time in the studio making modular patches and multitracking them in to build up my own sample library. I find it such an organic and natural way to work. I am very much of the school “write drunk, edit sober”, meaning let loose while you’re capturing ideas to find those man/machine moments that create a mood and perhaps little piece of magic. It feels more like playing an instrument than mouse clicking your way to the finish line. Don’t get me wrong I think that the computer is a necessary and essential tool to finish records, however ‘Voices’ came about as a straight print to tape out the modular system. It just felt right at the time as one of my biggest influences in the ambient techno world are Voices from the Lake. Their self-titled album is most definitely my desert island disk, hence the tribute track title. 

#4 – PEOPLE SAID IT WAS A RISK TO PUT OUT A FULLY AMBIENT PIECE OF MUSIC…

Looking up to my peers like Mathew Johnson and Voices from the Lake, I think that creating music for different moments, moods and times really shows your musical taste and ability to adapt. I saw Mathew play five times at FreeRotation this year and each time it was completely different and equally brilliant. I love different forms of electronic music for different situations so this felt very natural. I thank you for taking the risk and putting it out!    

#5 – YOUR OWN LABEL PARASOL CULTURE LAUNCHED LAST SUMMER, AND THE FIRST RELEASE ON ALTERNATE FACTS IS COMING TOO. WHAT WOULD YOU SAY IS THE BEST WAY TO BREAK THROUGH IN AN OVER-SATURATED VINYL MARKET?

First and foremost it’s about making good music. I like to see through the entire process from writing, through to mixing and mastering the record. The marketing of vinyl records can be tricky but delivering honest (and hopefully quality) music is what I’m all about. The first Alternate Facts release by myself and Dexter Kane is coming out late September - I’m looking forward to seeing it racked up in the shops and hosting a launch party at the Lion and Lamb to celebrate the release on the 19th October.  

#6 – YOU’VE STARTED A NEW NIGHT AT THE LION & LAMB FOCUSED ON LIVE ANALOGUE JAMS. WHAT CAN WE EXPECT FROM THE UPCOMING PARTIES?

Yes, I’m hosting a monthly Drum Machine Party at our beloved local. The concept of the night is to bring people together with their drum machines, synths and modular to have an open jam over the pubs superb Martin Audio system. The gear is set up in the pubs dance-floor so it’s as inclusive as possible to the people jamming and non-participants to see how it’s all done. It also feels like a hub for like-minded people to come together, play, learn and hear their machines in a naturally fitting and great sounding space - all to be soaked up over a pint or two! What’s not to enjoy! I’m starting to play live sets this has been a great platform for me to practice and help put the live set together. My first official one is at Body Movement at The Cause on the 22nd September - I’m very thrilled to be playing alongside top artists like Burnski, Omar, Alex Arnout + a couple of surprise guests that smashed it at Houghton ;-) 

 PHOTO: NETTI HURLEY

PHOTO: NETTI HURLEY