I started playing electric bass when I was around 11. Shortly after I studied the upright bass. Studied may not be the best word, in fact I messed around with the upright, but did it constantly.  Played in classical orchestras, jazz combos, and even a Klezmer group for about 5 minutes. When I was 20 I started a jazz group with some local musicians and played all over the place. It was great, but this void started to grow in the middle of my chest.  I think I was looking for something more brutal, or compact and digital. Maybe even more control. I found that all in producing.  I started making these fucked up jungle tunes at around 190bpm. Even released some here and there… But that’s how I got to the computer and the keyboard.

There’s a bunch of free music on your website, stuff that sounds well different from ‘Love is a Liability’, a little bit faster, closer to jungle, drum ‘n bass… how did you get from that sound to where you are now?

Right, I hate that stuff now. In fact by the time this piece is published I will have erased it from my website. I love the faster bpms, I just cant do it right. Always comes out so weird.  I used to trade tracks with boxcutter, actually I still do, but he asked me one day to make him a 2-step track, and put some samples in it. I had a crazy flu, like 102 Fahrenheit that afternoon. I sat at my desk and just saw the matrix, you know?  It was crazy. That first track is still one of my favorites.  In fact the next day i made an early version of Human Meadow the first track on Love Is A Liability. I think when I slowed down it just made more sense to me.

Much like Burial, your music seems to be dealing with the nostalgia of past musical styles. What did you listen to growing up? Are there certain artists or styles you’re trying to reference?

What else influences you, outside of music?

NYC is a definite influence. The pace, the history, the insanity. The self-induced psychosis. Every-time I travel I’m always influenced by my new surroundings. Bristol had a huge effect on me. Greece was amazing. Dunstable is the shit! My best friend lives there. Simple place, beautiful. No thrills, just good fucking people. Places change people. I hate that. If I had a stronger heart I’d live in the woods alone, or maybe with a friend…but I’d get lonely. Who wouldn’t get lonely living alone in the woods? Thoreau? He’s crazy.

Do you like talking about your own music?

What kind of equipment are you using? Are you the type to constantly be on the look for new gear? Or is there a specific set-up you’re accustomed to?

I installed the latest version of the software I’ve been using forever and freaked out. Immediately uninstalled and got back to my 4 year old obsolete program. This gets said a lot, and I believe it to be very true. Does not matter whatsoever what program you are using.  It’s all in your head, your heart and your hands. Gear may be another story, but I’m not qualified to answer that.

Your sound is described as New York Garage. What is it that differentiates it from UK Garage, that makes it uniquely New York?

That’s actually hard to explain. The “New York” element, whatever that is, is something indigenous to me. Hip Hop is king over here as you might imagine. You can’t escape it. You may not want to escape it either. I come over to London, and on a Tuesday night I want to go hear acid house, or jungle whatever. Chances are good I can find it. I go out to lower Manhattan, I can find 10 Hip Hop shows. Maybe haha. The soul element in NYC is devastating though. I recently went to St. Nicks Jazz Club on 135th and St. Nicholas Ave, in Harlem. Check it out. Like ground zero.

Are there any other artists that you think fit this billing?

You mention Bristol had a huge effect on you, we’ve actually talked about this city on the site a lot, what is it that makes that city so special? Things are really exciting over there right now.

I just loved the vibe walking around the town. It’s small, but it’s exploding with energy. Then again I don’t live there so maybe its not so exciting for its inhabitants. I wanted to check out Rooted Records last time, but it was a Sunday or something. There was this one building that is built on this overpass witch looks very post apocalyptic. Crazy looking, very dark. In contrast to the amazing train station. That train station is one of the most beautiful I’ve ever seen.

What are some other artists that are really doing it for you?

Too many really. Floating Points kills it. Jodey Kendrick is making serious tunes over at camp Rephlex. But I keep it simple, my regular rotation is Vibert in his many forms. It’s almost sad really. It’s like Plug, Kerrier, Amen, Wagon, Luke… cmon…

What does it mean to you to be recording for a label with a history like Planet Mu? Or for a younger, more upstart label with growing buzz like Ramp?

I’m thrilled to be a small part of both of these amazing labels. The Planet Mu thing came about a year or two ago.  I was sending Mike Paradinas those awful jungle things and at one point I think he said, “Yeah, thanks. I have a good idea of what you are up to at the moment…”  a polite way of shutting me up haha.  But eventually I slowed down with a little help from a friend and sent Mike Human Meadow it just grew from there.  Quickly went from single to EP to LP.  But yeah, the history of the label is astounding. If the kids getting into dubstep today only new how important and influential MU is, not just for dubstep but electronic music as a whole. Seminal. Ramp is a small wonder. Out of nowhere comes these killer 10″s and 12″s. Tom who runs Ramp is a sweet guy. He was putting out some sick hip hop 5 years ago, and then flipped the switch and changed the program. He approached me for To London about a year ago. There has been a lot of freedom in working with Tom. He has a strong voice, as does the artist. More to come with Ramp.

Your website is pretty stylish, as well as all the cover art for both To London and Love is a Liability, do you do that yourself? I get a feeling you might have a background in design.

Thanks, yeah I wish I could take credit. My friend Tom Simon designed my website and the To London 12″. He is doing more design for me right now. AS1 in Miami designed Love Is A Liability and Tom did the logo. I don’t have a background in design. I do have so seriously talented friends tho haha.

Was it you or AS1 that came up with the ‘old school girls’ motif? and who are these women on the cover?

It was my idea.  I’m afraid I can’t say too much on this topic.

Your music comes off as quite nostalgic. What or who do you think about when making music?

It changes, nothing in particular. I think of regular things. I’m not trying to sound like anything. I’m not trying to sound like nothing either, which is important. I can’t deny certain influences or restrictions. I have only my own ability and my life’s experience.

The Wire, in their review of your album, called you a sentimentalist, would you agree?

Haha, yeah that’s ok. I think I am. But I’m actually not sure what that means. About what am I sentimental?  Old music?  Sure. Why not. I just wake up and hope I can do what I did the day before better.  Sometimes I wake up drenched in fear. Like, will I be able to make a tune again?  It’s surreal. It’s scary. It’s shitty.

While being great in headphones your tunes stand up on the dancefloor just as well. What’s the ideal setting you’d want someone to listen to this record?

I make the tunes in my underwear. I listen to them on my ipod 50 feet below the surface of Manhattan traveling at 40 mph. I’ve played them out at clubs and had the room dancing. I would say In your underwear underground dancing.

How prolific are you in the studio? I think I read on your twitter you’re finishing up an EP and some singles to put out by the end of the year. What’s next?

I just try to not rest on my laurels. After this album, there is an EP for Mu and a few more singles for Ramp. I don’t know… like I said, I just hope I can wake up tomorrow and make a tune.

There’s a teaser on your Myspace ‘some new things on my mind’ that sounds pretty exciting and different. Where are you taking your music next?

I’m in a few different modes right now. I am making equal parts Hip Hop and Garage right now. I’ve a few Grime tunes as well.  I’m actually pretty bored. I think I might start painting. Like grab an easel some canvas and paints, get in a car and drive north.  paint for a while.  ‘m soo tired all the time. It’s hard to get excited about anything. I don’t know where this is coming from, but it’s worth noting. I make a tune in five minutes that rejuvenates my feeling for everything.

-RJ5000