Due for release this April on his and Mumdance’s Different Circles imprint, Logos serves a self-described “exploration of dark and altered pastoral material”. Citing influence from evocative and post-apocalyptic writings from Jeff VanderMeer and J.G. Ballard, Logos blends these muses into a hypnotic, tempered piece of musical narrative.
In conjunction with the music’s thematic qualities, Imperial Flood delves into the musical spheres of drum and bass of the late ’90s, experimental computer music and electro-acousmatic composition.
We caught up with the highly regarded producer to speak about the album’s creation and more.
Imperial Flood is a much darker, spacey album than your previous release, is this a direction that you chose to explore or was it based on feeling and intuition?
I think it’s partially deliberate. It doesn’t reflect a short period of time, I recorded it over a long period, using a sort of timeline method. I like to work slow as to create something intended.
Your musical output is perpetually evolving. Do you constantly search for new ways or methods to generate new material?
Methods of writing were mainly the same as when I began writing my early works. I use a very minimal approach, I try to express a lot with minimal elements.
You cite influences that span many mediums. How does culture influence your work directly or indirectly?
It’s hard to say, there are so many influences. The fiction of J.G Ballard and such works cut through Imperial Flood. They show our interaction with the natural world and the dread that comes with it; The idea of transformation. Those were the kind of things that got my creative juices flowing.
There was quite a long time between Imperial Flood and Cold Mission, was this a deliberate process or was it due to your other musical tributaries?
I decided that I want to improve my chops and get better. Other than that general life changes and my involvement in a label, things are busy. I am quite a deliberate music maker. I wanted to make a conscious, focused output for Imperial Flood.
Taking a step back and looking at your overall sound, are there any influences that you lean on to achieve your creative output?
Brian Eno, drum and bass, Klute, in particular his work in the late ’90s even things like geography, as in capturing a sense of a place.
Your long-time production partner Mumdance features on the track ‘Zoned in’. This track’s momentum is a great counterpoint to the ambience of other tracks on this record. What inspired this?
I had a vision for something and he has particular sensibility that made us push it in a certain direction that we could realise the product that we had in our head. That’s the beauty of collaboration.
Is there material out there either stylistic or just sonic noise that you are eager to explore in the future?
For the future I am discovering new compositional approaches by using new tools and programmes in an effort to explore different methods to make music. I want to grow, develop, keep discovering and transforming.
Are there more plans for Different Circles this year?
Coming this year is obviously my release Imperial Flood, we have an EP from Ena, a Japanese producer, and Weightless Vol 3 of our compilation series. It’s always busy.
Imperial Flood is out April 12 on Different Circles.
Buy it here.
Words: Matthew O’Hare