James Blake: An Interview

Abandon Silence would like to wish a huge thank you to everyone that attended our show last Thursday at The Shipping Forecast in Liverpool. It was an absolutely huge success, with James Blake's headline set striking such a precedent for this Autumn that it is hard to imagine anyone beating it. Further thanks are given to our fantastic residents, Rich Furness and Horza, who once again absolutely killed The Shipping Forecast. Their opposing styles but awesome DJ skills make them residents that we are very proud to call our own. Guest KillaHurtz also deserves special mention for working through the tough test of following on from James Blake, which he handled superbly.

Luckily we were able to catch a few words with the man himself about the release of his new EP, Klavierwerke, out on R & S Records on the 10th October. It is pretty interesting to see his views on his own categorisation and the motives behind some of his decisions. We have also been able to, via FactMag, include audio of the title track of the new EP. I hope you enjoy, here is a picture of me looking very smug with James Blake, plus a few nice pictures from the evening below. To see all 129 pictures taken by the brilliant Robert Keith Seeley, click here.

So, here goes...

Abandon Silence (AS) : First and foremost, did you enjoy your Liverpool debut last Thursday? The Abandon Silence crowd seemed to really enjoy your set.

James Blake (JB) : I loved it yeah. It was nice to make my Liverpool debut and was chuffed at how open minded and nice people were, before during and after the set.

AS: We are fast approaching the release of your second EP with R&S records, titled Klavierwerke. How does this EP differ from any of your previous releases?

JB: I started to use my vocals (albeit in adulterated forms) a bit more candidly on this EP, so I feel a really strong connection with the music. Secondly, the piano samples are from the same recordings, not separated but equally bastardised and manipulated. I fell in love with the sound of the piano again on this EP, but this time in an electronic context.

AS: When you approached the creation of the Klavierwerke EP, which records/artists influenced you? Are these the same artists that influenced all of your work so far?

JB: I think the track that brought me to this new sound was 'Baves Chords' by mount kimbie, and possibly certain beatless burial tracks. I wrote Klavierwerke in a slightly different headstate, with memories of Berghain fresh in my mind.

AS: Klavierwerke is your second release with R&S records, as you help with it's remarkable re-emergence. What attracted you to work with them? Im sure there were other offers..

JB: The two EP's are so different that it takes a label like R&S, with their huge range of output, to release them consecutively without hesitation. I was excited to work with them because they've been reborn, and their reputation precedes them. Their audience base is also really diverse, which means it's reaching people that might not otherwise have heard it. I'm good friends with all the labels i've released on and I send them all my new stuff, so it's a matter of where it fits really.


AS: How did it feel to have your first full solo EP release, CMYK, given universal acclaim by critics? Had you expected it?

JB: I just wanted to make a track that brought out the euphoria i'd experienced listening to pangaea and joy orbison sets, and in doing so I made something that took on a life of it's own.. A while later it was incredibly surreal to hear it on Radio 1 and the like, but then the day i'm not suprised, humbled and delighted by people liking my music might be a very sad day.

AS: On the tracks that you have released, there has been a great variety in moods and atmospheres. Do you pick and choose your styles from production to production, or is it just natural?

JB: It sounds obvious but whatever I'm feeling at the time should be captured, or I'm doing something dishonest. Therefore the atmosphere is always changing and my music (like life) goes through phases.

AS: You appear to have been placed into the 'dubstep' genre. With such a difference between your music and the productions of other 'dubstep' artists such as, say, Borgore, how does it feel to be categorised side by side with such opposing sounds?

JB: I like to think I placed myself in the dubstep genre. When I started doing it I was listening to Mala, Coki and later Mount Kimbie, none of which are really categorised side by side with people like Borgore. I'm happy to play nights alongside people like Borgore because for me, opposing sounds make interesting nights, and make it easier for my music to have a clear shot at the runway.

AS: Finally, I ask all artists that I interview this question, which three records are you loving right now?

JB:
Joanna Newsom - Have One On Me
Tallest Man on Earth - The Wild Hunt
An unnamed dub by Blawan who released on Hessle, and who is one of my favourite new producers


Finally we would like to thank James wholeheartedly for being an excellent guest at Abandon Silence last Thursday. It was a huge success and was most certainly memorable in part for his epic set.


James Blake - Klavierwerke (128) by factmag

An Interview with Starkey

AbandonSilence was recently given the honour of interviewing the US Bassmaster himself, Starkey, just before he took to the stage at The Magnet in Liverpool. For the purpose of the interview, AS denotes the questions and S denotes Starkey’s responses.

AbandonSilence would like to offer our gratitude to Ben Vale and Ben Thapa who made it possible for us to meet the man himself - and again for Ben as he contributed the picture of Starkey (left) and my ugly mug (on the right) above. Here goes...

AS: As you were growing up and beginning to produce, from where did you find musical influences?

S: Everything you hear influences you; doesn’t matter if it’s good or bad. What got me into music back in general in the day were the Beatles and Michael Jackson. After that, once I started building my own ideas of what music is, I really got into hardcore punk rock and then jazz and classical. After that was all about Bjork and the Trip Hop stuff, Tricky and that plus Mogwai and epic post rock. All of that came to form what I do now.

AS: At what point did you realise that you could begin to make music for a living and not just a hobby?

S: Erm, I knew I wanted to get into production at about 14 or 15. I knew I had to stop kidding myself that I’d make it to the NBA. That’s when I focused on music. I’d always been interested in music, but I got into writing electronic stuff when I was about 20 or 21, that’s when I started to get into it a bit more. It’s been 8 or 9 years now that I’ve been confident about what I do.

AS: When did you discover dubstep? Coming from the US it must have been hard work to find a foothold in the genre?

S: Pretty early on man, pretty early on. I was living in London in 2001, I heard all that garage stuff; So Solid Crew and The Streets had just come out. I moved back to that states and kept in touch with what was going on. Through the pirate radio stations like Rinse I got into grime and I really got into that. Through grime I got into dubstep. I wasn’t as much a big fan of the early 2steppy stuff, but I have grown to appreciate it now. My first love in dubstep was Loefah’s darker style and Vex’d’s Hip Hop influenced stuff.

AS: On your new LP, Ear Drums and Black Holes, you cover Rave, Dubstep, Chilled and many other genres, do you find it easy switching between genres?

S: That’s kind of what I do, I don’t even think about it, whatever happens, happens. I don’t try to please anyone except myself. If a track feels like it’ll get chilled, it gets chilled. If it feels like it’ll be 4/4, it’ll be 4/4. If I wana sing, I sing. I don’t mind switching styles; I have music ADD so I can get bored pretty easily.

AS: In the UK and more so the US, dubstep is really blowing up, even Britney Spears is working with Rusko, what are your thoughts on the growth of the genre and it’s move into the mainstream?

S: I’m all about it. If people are doing what they’re doing and are happy with what they’re doing, then great. I listen to a lot of mainstream R’n’B and Hip Hop. I think the word ‘dubstep’ is the problem. There are so many factions, the sound is splintering. Everything moves faster because of the internet. You split everything into these subgenres. That’s the problem, there’s really not much that holds the sound of ‘dubstep’ together. Just coz songs are round the same BPM doesn’t mean it’s the same style. That word and what people reference it is a problem. If someone hears a Rusko track for the first time and are told that that’s dubstep, then if someone hears one of my tunes they’ll never think that’s dubstep as well.

Foals "This Orient (Starkey Remix)" by starkbot

Starkey ft. Anneka "Stars" (12", digital single) Preview by starkbot

In Profile: Mele

AbandonSilence was recently very happy to get an interview with Mele. Mele is a new producer coming out of the Wirral, Merseyside. His productions have a style and flair that I absolutely love. I simply cannot get enough of his tunes, check them out after the interview;

(As a special treat, I've also put Mele's 'Favourite Tunes of the Moment' up for download or stream - right click, open new tab for them.)

here goes....


AbandonSilence: So, how did you end up producing and DJing music?

Mele: I got into about 3/4 years ago, a mate of my mums son sold me his decks when i was about 13 with a load of techno vinyls, so i just learnt to dj with them, producing came a little bit after.



AS: What was your inspiration to get into music?

M: Definitely seeing the prodigy for the first time, it was like an epiphany



AS: Which three artists are the biggest influences on your sound?

M: I must admit that that changes literally all the time, but at the moment i would probably say the stuff L-vis 1990, Redlight and Toddla T are doing.




AS: When you have created a new original production, how do you go about releasing it? (what order - internet, vinyl, bootleg, etc)

M: it used to be just sending demo's to labels, but now i really only release on labels i know and want to do releases with me.



AS: What are your views on the Liverpool scene?

M: i have been going to clubs like Chibuku for a while now, its getting stronger! I have only played in liverpool once or twice. but local guys like Rich Furness are smashing it.



AS: Why does it have such a small scene by comparison to other cities such as Manchester, Bristol or London? Do you have any idea as to why this is?

M: I often ask myself the same thing?!



AS: What are your views on dubstep? I know that you produce and DJ all forms of electronic music, so why do you feel that dubstep is coming to the fore at the minute?

M: I love dubstep but i would never want to get bogged down in the whole thing, it seems like people are taking it and running with it, which is a good and bad thing i suppose. its just great party music i suppose



AS: Is music your day job?

M: it is!



AS: What is your favourite club night to play in Liverpool? If possible, why?

M: i cant say that yet unfortunately! hopefully i will be able to comment on that soon [AbandonSilence would like to say that we are planning on changing this answer for Mele soon]



AS: What are your three biggest tunes at the minute?

M: stupid by redlight and pulse 80 by mensah and hydraulic by r1 ryders



AS: Cheers




AbandonSilence would like to thank Mele for his speedy and full co-operation in helping us out.


Cheers!


Flexi - Melé by Mele


Eliza Doolittle - Skinny Genes (Melé Remix) On 1xtra by Mele

Rusko is Coming

Two weeks today, the city of Liverpool will be graced by the presence of one hell of a dirty man. No not Gary Glitter, Rusko! In support of his horrifically titled debut album, OMG, Rusko is playing at the Liverpool Barfly on the 25th February. Support will come from local DJs Rich Furness and Eat Your Greens' Jonas.

Today we link you to the download of an interview Rusko did with Diplo, head of his label Mad Decent, to chat about his future plans, the album and other interesting things like his influences.

Its a very good listen for anyone wondering how to get into DJing and just how one of the UK's best DJs got to where he is.

Rusko - Mad Decent Podcast 45