In advance of the LP's highly anticipated July 27 release, XLR8R spoke with the London-based DJ/producer to learn more about is debut album, with "Bróðir" streamable in full below.
The Foreign Parts LP is laced with a unique, signature sound. Is this something you actively tried to develop over time, or is it just natural to you?
It’s been natural progression - I’m finally making exactly what I want to be making. It’s frustrating for a producer starting out; you’ve got all the ideas but maybe not the skills to implement them. I’m now at the point that when I have an idea, I can generally get it down one way or another. When I’m producing I’m not looking for functionality; I’m looking to create a feeling, or mood. That’s what comes naturally to me.
Is there any particular motivation behind the name of the LP and any/all of the track names?
It’s a mixed bag. Foreign Parts for me is referencing influences I’ve gathered from all over. I just felt the Scandinavian aesthetic really suited the LP, especially tracks "Brodir" and "Systir." I travelled to Iceland and Norway earlier this year and these trips definitely gave me some inspiration whilst finishing off the LP. If I had an endless pot of money to record my next album then I’d write it in Norway.
Talk to me about the production process behind the LP. How long did it take to produce?
I was making this pool of tracks for the best part of a year. It was all made at home in my bedroom studio, using a few bits of hardware and field recordings. I like to use as much as I can from what’s surrounding and I also did some of the vocal samples myself.
Was there a particular vision or inspiration behind the album - or did you just go in the studio and jam?
Writing an LP was always quite a daunting prospect for me. I went into the process making it track by track and eventually I had enough to send to a favourite label of mine. They suggested doing it as an LP with them, so the idea actually stemmed from there.
Although the LP didn't actually end up coming out on said label, I was sending tracks back and forth with them during the recording period and this was an important aspect of quality control for me as everything had to go through a few pairs of ears.
The LP is a pretty good reflection of my tastes because I’m drawn to this deep and soulful, organic sounding music. Some tracks in there that are suitable for the club, some not so much. I guess I wanted the LP to be translatable into different circumstances.
As far as LPs go, the running time is quite short. Is there any reason behind this, or was it just a case of quality of quantity?
When I decided to self-release, I knew that I had to completely stand behind the record because that was completely my vision. I had around 12 tracks and the quality was there for me - however these seven have a really coherent feel to them. It was a tough call cutting it down but in hindsight I’m glad I did. A few of the other tracks will be surfacing one way or another before the years out.