ONMI
TRIO
INTERVIEW
:
ALEX
FARBER
PICTURE
:
AMY
&
TANVEER
))OMNI TRIO
MOVING SHADOW’S LONG-TIME PRODUCER
GETS VOCAL WITH KNOWLEDGE...
))
NAME together of Fabio and Bukem there from ‘94 MADDEST CITY UK CONS
It came about back in ‘92 when I had this to ‘96 really represented a pinnacle for New York, all the clichés about it are true. It’s kind of connected, there’s a lot of
record label, Parliament Records. I was drum & bass cos it signified anything was conditioning in the Western world so even
putting little white labels out with all my possible. Musically, anything could go on
HEAVYWEIGHT
though we’re free to do stuff, most people
mates and at that point it was just another and since that point we’ve lost that a little
CHAMPION TUNE
don’t. We go for the same product, the same
name. I didn’t know I was going to stick with bit. ‘96 to ‘97 the darker scene came in,
I’d walk out to something rousing; Wagner’s
styles, we’re not using our minds. I can see the
it. The ‘Omni’ bit came about because all which I’ve got nothing against but it seems
‘Ride Of The Valkyries’.
May Day rioters’ movement as gathering more
equipment manuals refer to omni, which is everything went like that. It almost didn’t pace. The thing with a movement like that,
something to do with the channels all being leave room for other variations to co-exist.
FAVOURITE PIECE OF KIT
is certain parts of the extremism to do with
on at once. It was me on my own so the I like all the flavours of drum & bass but
At the moment I’m having an obsession
it immediately puts people off.
‘Trio’ made it a little bit different. There was I want them to co-exist rather than one
with my Supernova. It’s an synth that’s
no big deal behind it but it was under that dominating to the exclusion of the others.
as analogue as you can get with a
CHILL OUT
name I did ‘Mystic Steppers’ that Bukem got Speed represented the most open-ended
digital synth. Ultimately you can’t beat a
Listen to music, get into the countryside.
on plate and everything all kicked off. So all point for drum & bass.
sampler though.
Meditate a bit. It’s a big thing finding space,
my other aliases became background but
something I never did years back. I never
I’ve grown into it now and in a sense it’s
IDEAL COLLABORATION PARTNER
PERSONAL
FAVOURITE TUNE
stopped to realise where I was and what I was
become a label for my music.
Starting next week I’m doing a thing with doing and I didn’t enjoy things enough.
Every three months I would definitely say a
Sean O’Keefe who’s Deep Blue behind the
LIVES
infamous ‘Helicopter Tune’. I’ve known him
different one. At the moment it would be
RINSE OUT
Steeple Bunstead, on the border of Suffolk
for years but we’ve never got on with a
things off my new album like ‘First Contact’.
Having three kids it happens anyway. I had
and Essex. I like the space.
project. Ideally it would be someone like
‘Kinetic’ has some quite devious edits in the
manic years, fitting everything into my spare
Bryan Eno who invented ambient, atmos-
beats and I would play ‘Higher Ground’
time. My nature means I still need to be where
LOVE TO LIVE pheric music or Steve Reich, an American
which is really melodic.
things are hectic sometimes though.
Cornwall. The coastline is so rugged and it minimalist composer. The textures in their
MUSICAL INSPIRATIONS
feels really brutal with the sea. And then music are something else.
DREAM COLLABORATION
Back in the early days, Bryan Eno. With
inland you’ve got forests and hills and stuff.
I’d like to see more collaborations across
Exactly the terrain I like.
NIGHTMARE COLLABORATION
that ambient thing he opened up the idea
genres. If UK garage had been around at the
Anything cheesy and formulated and put
that there’s different ways of listening to
time of Speed, you would have heard that tune
MEAL together. There’s as much of that in drum &
music. You go clubbing and that’s one thing
alongside a techno tune and a downtempo
I like the Pizza Express near the British bass and house and techno as in pop
but there’s a whole different way of hearing
tune and a drum & bass tune. It’s all the same
Museum in Holborn. music. Anyone making music that’s
music. In terms of drum & bass you’ve got
format, bass, breaks and atmospherics. If you
formulated to make money.
to acknowledge Bukem for some of the
look beyond the cliques of clubbers it’s all the
DRINK possibilities he created for artists. Overall, same melting pot. Just because something’s
My main drink is whisky. Back in the day INSTRUMENT over the last ten years it has to be Aphex a few bpm more or has a synth sound to it,
I used to be a beer man, never lager. Keyboard because it’s so versatile. You Twin because he’s done everything. He’s that’s superficial.
plug it into a sound module and can create pushed the sonic boundaries but he can
CLUB
so many other instruments. create music that’s sublime. He’s capable ONE ALBUM
My clubbing peaked with Speed in ‘95.
of all sorts of stuff. Aphex Twin, ‘Ambient Works Vol I’ on R&S. It’s
Seminal night for beautiful, jazzy drum & HOLIDAY RESORT not an ambient record. It’s got that in it but it’s
bass. Anything went in that club though; I’ve been abroad a couple of times but I like UK PROS
got everything in it.
downtempo, either side of a really hard to chill out and enjoy myself in Cornwall. As There’s a lot of freedom we’re allowed
‘Even Angels Cast Shadows’
dance track from Photek. The coming long as it’s sunny. in this country. is out in July on Moving Shadow.
82 KNOWLEDGE
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