Let begin with the fresh news, Beyond Borders, London: would you tell us your approach and methods when creating the CD?
I wanted to capture a snapshot of what London means to me; everything from the confusion of cultures to the noise of the traffic, the pirate radio stations on the Westway and the art-school rock of Shoreditch. All overlaid with the echoes of the ‘lost’ clubs I played in the past like The End, The Cross & Turnmills and the vibe of the nights that are still carrying this sound forward, everywhere from Village Underground to Ministry Of Sound.
To do that I had to draw music from lots of different genres and sounds d then make sense of them as a single mix. I also made a few trips around London recording the sounds of traffic and conversation, rain and sirens, and used those to create accents in the mix. I’m very proud of ‘Beyond Borders’ – it covers so much ground musically and makes sense of it all, rather than justifying itself simply as ‘eclectic’. Have a listen – it’s good
How are you currently approaching electronic music with a “boundary-less” method ? How dubspeeka and Shadow Child inspired you?
Both these guys are drawing their bass and beats vibes from a whole spectrum of sounds primarily associated with the UK – speed garage, dub, drum n bass, two-step – and re-contextualising them into house (Shadow Child) & techno (dubspeeka). The influences are so diverse that the end result is something new. I’d been doing something similar in my remixes for some time, pulling in ideas from other genres, but I’d still unconsciously set myself some limits. So in the last 12 months I’ve dropped as many of my old habits as possible and I let myself try whatever interests me that day. It’s more demanding and rewarding.
How do you reconcile your huge past in the studio (8 Essential New Tunes) with pushing forward to carve out a fresh sound?
I make music for myself; sometimes it is more in fashion, sometimes less. That’s not my problem
Back on the street: tell us your thoughts about the UK scene: present and future? Is there around the world any other scene you really estimate?
It’s transformed. People from abroad don’t understand how quiet things got here; it takes more than just Fabric & The Warehouse Project to make a scene. There are healthy nights now in dozens & dozens of cities, covering all sorts of vibes. Things like Ohm Sweet Ohm in Sheffield, the Majefa night in Manchester, 303 in Liverpool, etc.
When I go abroad Argentina is good for me these days; it’s a cliché that they’re one of the most passionate crowds in the world but it’s true. They’re renowned for only enjoying melodic progressive and techno vibes but this is less true in my experience; I’ve been playing this bass sound over there for the last year or so and it still gets a huge response. Musically Spain seems to have a really strong producer scene at the moment too – friends like Henry Saiz, Marc Marzenit as well as Coyu, John Talabot, Pional, Simon Garcia (who I’m playing with in Argentina next month) and Uner – which reminds me, I was going to send Uner a key I have for his hotel key collection…
Any future plans with Beyond Borders London?
For me it’s crystallised my thoughts about the music I’m making. I’m going to explore the mood of the album further in my productions and remixes. Next remix I’m working on is for an artist from Beyond Borders – I can’t say who yet but I’m very excited about that.
Thanks for your time, was a pleasure
If possible please embed King Unique’s remix of Grum’s Sunday Blue Sky into the feature.
Beyond Borders: London (mixed by King Unique) is out now:
Download on iTunes: http://bit.ly/KUBB_iT
Listen on Spotify: http://bit.ly/BB-KU_SP
Grab your copy on Beatport: http://bit.ly/BB-KU_BP