released November 25, 2023

I made both tracks on 003 around the same time and I remember they were the first bits of music that I finished and thought were close to the standard I wanted. Just took 10 years or so to put them out!
As with these 2, I find that a burst of productivity and inspiration can often lead to a couple of tracks. Almost like they are siblings. Sometimes I make something that I’m happy with and have enough left over inspiration to take into something else. I guess making a track is like laying down a marker and that can give you something to push against. I find boundaries and limitations helpful for the creative process.

SESSIONS: The track includes some 1 shot percussion I took from Vibrations Groove, the first track on the Strut compilation: Sofrito International Soundclash. I always thought that big leady string sound after the break sounded a bit like the synth on Gary Numan ‘Cars’. For me, that sound and section is the thing that made me want to come back to it and finish it, instead of it just sitting on my hard drive. Listening back now, I get quite strong Theo Parrish vibes on this. I don’t remember that being the goal when I was making it but he’s one of many producers I come back to regularly.

I think pretty much all pad, synth and bass sounds come from my Juno. The stabby bass is a later introduction and there were lots of attempts to “finish” the track and there are loads of remnants of earlier ideas still in the track. A bit like an audio passport with lots of destination stamps. I think this gives the track depth but it comes, at least in part, due to indecision and a lack of confidence (at the time) in my music. The other thing to mention is the broken vibes on the drum programming. Not sure why I do this but it’s rare I put the clap or snare on the 2 and 4. I just have a weird aversion to it. May stem from my first love: Drum and Bass.

CHERRIES: If Sessions went through a ton of tweaks, Cherries has stayed pretty much as it was since I first made it (around 2014). I’m pretty sure most producers will tell you that’s a good sign. Is that just because it’s a fuck load easier?

At the time I was listening to the early 22a releases (slow house? at least that’s what I thought they were going for) and the bass I thought sounded a bit like Flying Lotus. The break hiding behind all the drums comes from footage of Don Cherry playing drums in the street on a Swedish documentary I saw. With that in mind, that must be where the title comes from, but I genuinely don’t remember that being the reason. Some Flo Po influences in there with the arp sounds and the ending. He was a big reason that I got into the more housey sound that I’ve kind of gravitated towards.

All synth/pad sounds handled by Mr Juno again. Bass sound comes from my love for messing with the numerous janky presets in Logic. All the 303 sounds are a synth emulation put through reel to reel tape. One of my first experiments with tape. Bouncing onto reel to reel is sooo very satisfying that you end up telling everyone about it. I probably fell fowl of chewing peoples ears off about it at one point but I think I’m over it now (I think).