You’ve signed to Ninja for ‘Vapor City’. How did that come about? “Ninja Tune expressed interest in signing me to their label. I already had an album and concept more or less finished by the time we started talking.”
What’s the meaning behind the title of the album? And what’s the concept behind it? “Vapor City is the name given to a fictional city based on recurring dreams I was having while writing the songs for the album. I decided each song on the album would represent a different district in this city.”
It seems to nod to the atmospheres of science fiction. Do you like to conjure images in the mind’s eye with your music? “I feel like the images come after the song. When I write songs, I go into a sort of trance that I eventually come out of, and the image and sound sort of presents itself at that moment.”
‘Don’t 1 2 Lose U’ seems to operate on two levels, like a lot of your music, and like a lot of drum & bass. The ravey, dark stabs are in double-time but the beat is a slow roll. Is this a key element of your work? That simultaneous cruising slow tempo and hyperspeed rush? “Yeah, that’s been a focus of mine since the beginning of Machinedrum. I set out to find the relationship between hip-hop and jungle when I started Machinedrum in the late ‘90s. I was listening to some random jungle tune on vinyl and put the needle down halfway through the beat and started listening to it where the one was switched, so the snares landed on the three instead of two and four. I love the tension created with fast-paced percussion set on top of slow- rolling snares and kicks.”
‘Center Your Love’ is pretty anthemic and very summery. Did you set out to make a big uplifting single with that cut? “I started that song from a rough vocal cut that Angelica Bess sent me. The song sort of presented itself from there. It ended up being very anthemic, maybe based on the simplicity of the vocal and message. It was the last song written for the album and kind of summed everything up for me. I wanted it to be the lead single but Ninja Tune felt ‘Eyesdontlie’ was a more powerful statement, I guess.”
‘Eyesdontlie’ does seem like something very new, a kind of new bass record that doesn’t have a label (yet), but there’s still that big euphoric breakdown, reminiscent of classic d&b. What was your aim with that track? “I never really have any aims when making a track. The bpm kind of dictates a lot, however. I started the track at 176bpm and the rest came organically. I think I originally started making an ambient tune, and then slowly as drums started getting added to it the song took a whole new form that wasn’t originally intended, but felt perfect at the time. It’s definitely some sort of marriage between classic d&b and dirty south rap beats.”
‘Gunshotta’ is one of our favorites. Again it has that kind of elegant madness to it, the grimy dancehall ragga vocal mixed with those contemplative keys. What was your drive in creating that? Is that sense of conflict, abrasion, the rough with the smooth, important to you? “It’s really hard for me to lay back with beats. I get a kick out of making beats that make you nod your head uncontrollably. Bass is definitely something I have grown more confident with in the past few years and has become an integral part of my tunes. At the same time, I’m a sucker for ethereal melodies and soothing textures. I think the contrast between both just happens naturally when I’m creating a song because
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I love exploring happy mediums. I feel like these contrasts and worlds colliding are where you can find truly innovative ideas.”
You’ve produced for other artists, most notably Azealia Banks. Is it enjoyable working with others, and with vocals? How does it differ? “I do love working with vocalists, especially new vocalists in their raw form untainted by the music industry. It’s definitely a challenge working with vocalists, but I enjoy it. I prefer to work on songs with vocalists in the studio, however, as the results are way more gratifying. I find that if I send zips of music to vocalists and they record separately from me, something gets lost, and nine times out of ten you end up with a song that isn’t as focused as it could be.”
You live in Berlin now. Why did you move there? Is it as creative and convivial for electronic producers as they say? “I moved to Berlin for several reasons, but the biggest one was a huge surge in European gigs. I was making more money and playing more enjoyable shows in Europe than in the States at the time. I felt like Berlin was not only perfect geographically, but also for living expenses. It also helped that I have a load of friends here who are incredibly talented and influential to me. Berlin is also quite nice because there’s this balance between relaxation and a hard-working mentality that I enjoy, and kind of needed after living in NYC for five years.”
What’s happening with your JETS project? “Jimmy and I have started our own label called Ultramajic, which we are both extremely excited about. Expect to see JETS collaborations in one form or another appearing on the label.”
You’re very prolific. Do you find making music easy? Is it a compulsion? “I have found that making music has always been easy, especially now that I’ve been doing it for most of my life. I feel lost when I haven’t written new music for more than a week. It’s a basic need for me, right up there with food and sex!”
MACHINEDRUM’S TOP FIVE BIGGEST INFLUENCES
BOARDS OF CANADA “I’ve always been fascinated by their powerful simplicity. The way they can make you feel simultaneously at peace yet haunted with their melodies has always been something I’ve been in awe of.”
AUTECHRE “From the beginning I’ve loved Autechre’s approach to rhythm and abstract soundscapes. I’m always excited about their releases because I feel like it’s an update on where we are with technology in music. They are always so ahead of the curve, if not too far ahead for their own good sometimes.”
AFRICAN MUSIC “I played Djembe in an African ensemble for years. This is where I really learned about polyrhythms and how hypnotic primitive music could be. There is something so powerful and human about tribal music that I think is missing with most modern music.”
STEVE REICH/PHILIP GLASS/ MODERN CLASSICAL “Since piano was my first instrument, I’ve always had a fondness for classical music. When I discovered modern composers like Reich, it really opened me up to how applying old techniques with new influences could create innovation.”
TIMBALAND “I’ve always been fascinated with good pop music. I feel like it’s the biggest challenge in the musical world, to create something that is so universal yet so forward thinking at the same time. I think Timbaland has always captured this perfectly.”
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