Hiya Derek, thanks for joining us in the virtual RGM lounge today. Grab a brew and take a seat.
What was life like for you before you got into music?
Just before I picked up the bass and guitar, I was in sixth form heading towards doing a philosophy degree at uni and caught Scott Pilgrim vs. the World in cinemas – that film changed the game for me, I was so inspired it’s the reason I started playing!
It seems like being a social media curator has become added to the many jobs of a musician, how do you feel about this?
I agree that it appears we have to wear many hats nowadays as a musician, especially in having to market and curate an audience on our own, when at least for me, I really just want to focus on producing music! That’s partially the price to pay for the level of access being so low, now the industry is much more saturated than it was 20-30 years ago. On the flip side, I appreciate that now there’s opportunity for anyone to reach an audience and not be beholden to labels/A&Rs.
What’s your view on the Music industry today?
Think it’s fair to share with other artists the fear of the potential impacts AI can have on how music is made and consumed. It’s also such a different world than even the beginning of this century; it’s at once easier and harder to get your head above the precipice. I’m glad however that I’m alive in an era where I can create without limitations, especially in the digital space.
Where do you feel you currently sit within the music industry?
In a micro sense just to do my own thing, creating music by embracing individuality and diversity, exploring a range of styles with a DIY attitude. I guess on a more macro level, to be an example for people who grew up in a similar ethnic and socioeconomic background to not be pigeonholed and that there are no limitations on what you can make.
What’s the biggest thing you have learned recently as you progress with your music?
To trust my instincts and not compare myself too much to others! I’ve made so many tracks that I’ve given up on or shelved because in a moment I’ve thought it lesser than something else, and the work suddenly loses its value. Then a while later I’ve re-evaluated past works with a clearer mind and some songs can hit harder than before or surprise you with the ingenuity in the production, like “Holy cow, I wrote that?!” So I’m trying to keep that mindset when looking at what I’ve done and want to do next.
Tell us something about you that you think people would be surprised about.
I’ve never had a mentor or professional music lesson! I would really like to at some point though as it would be good to be have someone to talk to for advice and learn some new techniques (or unlearn some bad ones…)
I hear you have new music. What can you tell us about it?
Of course! My second album, Release Me From Your Kung Fu Grip,was released on 11 July. Building upon the lo-fi experimentation on the first record, Restlessness, this time I wanted to make something more maximalist, complex and progressive, increasing the electronic and psychedelic aspects, while still hopefully being familiar and engaging in terms of a what “rock music” should entail.
Lyrically, themes covered include power dynamics and control, home, conflict, relationships, spirituality and the environment. The album also pulls in a lot from pop culture, inspired by things as wide as cults, memes, references to The Simpsons and some classic albums.
What was the recording process like?
The main recording sessions took place at home during the pandemic in autumn 2021, so a lot of extra time was available to really devote energy to experimenting with song structure and overlaying ideas from a myriad of influences (60s wall-of-sound, hip hop beat switches, etc.). Over the next couple of years, I needed to re-record guitars and remix it quite a few times to get it to a place where I was content, which meant shelving it and working on other things to develop more production knowledge and coming back when I felt ready.
What’s your favourite song from the album?
I think the best track for me personally is the song “Captured”. I wrote the guitar riff months before I started recording, and thought it just had such an interesting melody and rhythm to it, that I also invoked Prince and left out adding bass guitar like he did on When Doves Cry and Kiss, just to give it extra room for the notes as well as the maelstrom of synths and effects.
I’m also pretty proud of the lyrics, which speak to a young offender being on the run, getting trapped in a cycle of crime and being caught and metaphorically “consumed” by the prison system. The second half is also probably the most dark and eerie moment on the record, such that it still gives me goosebumps all these years later!
What was the biggest learning curve in writing the new tunes?
This album was the first thing I made on Ableton, so learning to navigate a new sphere for me in terms of production and workstation capabilities was a huge deal, and is indicative of the experimentation on the album, as I was just kind of throwing anything at the wall, embracing the shiny new toy and doing whatever seemed cool, without really knowing what I was doing at first!
Would you change anything now it’s finished?
There are probably some drum loops I would have edited some more and readjust certain levels here and there. But really in terms of the process I would have liked for it to not have taken almost 4 years to finish but here we are!
Is there anything else you would like to share with the world?
As mentioned before, the album thematically deals with things like power, losing control and what identity, home or belonging can mean when autonomy is under threat – something we’re clearly seeing all over the world politically, with ICE deportations in the States, diminishing of trans rights locally, and Israel’s senseless genocidal war crimes against the Palestinian people.
It’s wild that even though I wasn’t writing about these issues, the lyrics can suddenly adapt and appear very relevant and prescient – so just wanted to pay mind to those people suffering under these structures and highlight the power that music has to reflect things happening in the world in surprising ways.
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