At a time when dance music seemed completely saturated by run-of-the-mill club fodder, or retreads of past anthems, there is a beacon of hope in the shape of Border Community. Designed as an outlet for label head James Holden’s more experimental work, it will also showcase exciting young producer talent, which Holden seems to attract.
When you listen to the label’s debut release ‘A Break In The Clouds’, Holden’s first release for over a year, you can see it’s a far cry from his days with Silver Planet; still lush and captivating but this time far more moody and deep, with heavier emphasis on rhythm and sound manipulation. So what did happen with Silver Planet?
“My time at Silver Planet was the typical naive kid with a long record deal situation, I wasn’t even really into that sound’ he laughs, ‘I’ve always been more into techno, electronica and post rock bands like Macrocosmica.” This couldn’t be more evident than with Border’s next two releases, Nathan Fake’s ‘Outhouse’ a Funk D’Void / Slam hybrid, and MFA’s astonishing ‘The Difference It Makes’, a haunting electro tinged deep house foray with a quirky drum & bass mix that would have sat comfortably next to a release on Warp or Ninja Tune. “Since leaving Silver Planet I’ve been able to explore my own tastes, write music that I actually like and start a label to reflect that.”
Nathan Fake
Holden has been haled as the golden boy of progressive trance with impeccable production values and a Midas touch with vinyl. After successful collaborations with Sasha, Van Bellen and Ben Pound, remix credits as long as your arm and my arm put together and most recently a double mix CD for Balance, it is hard to believe it all comes from someone so young and with no formal studio training. “I’ve been making music on my PC for about 10 years now, my dad taught me the piano and violin so musically I’ve got a reasonably classical background but as far as studio training goes that’s all I’ve had. I started with free software until I could afford something that could make a good sound.”
You might expect his set up now to sport numerous synths, compressors, a zillion channel mixing console, three tigers, an on-suite lagoon and a tribe of Swahili virgins all trained in the art of sound engineering, but no. “I’m still completely software based, and I work alone…I’m a bit of a fascist in the studio to be honest, I prefer to see through my ideas rather than compromising. I use Cubase for sequencing…the new one because of its editing functions. My favourite bit of software at the moment though is Buzz Modular, a nutty free modular instrument that lets you build your own instruments, you can route anything to anything, a few tweaks of a knob and it completely fucks your drum loop. It’s a lot easier to learn than Reaktor and sounds awesome and is completely free, there are tons of free plug-ins for it made by users to download as well.”
MFA
James is not alone with his love for modular VST instuments. There is a growing trend of programmes that let you build your own instruments or plug-ins from little macros or modules. Instruments like Arturia’s Moog Modular; a faithful emulation of Bob Moog’s trademark behemoth modular system of the 70s, Reaktor, Native Instrument’s flagship modular synth workstation that lets you build your own samplers, synths and effects or Applied Accoustic’s Tassman, another modular system that relies on physical modelling as apposed to sampling to achieve acoustic as well as synth orientated instruments, all give the user an infinitely configurable and creative tool with endless sound sculpting possibilities.
So is the analogue vs digital debate stacked up in digital’s favour? “I think it’s a generation thing. Older producers and engineers are used to their old analogue gear. They prefer the way it sounds and works. I actually prefer digital sound even if it is a bit unforgiving.”
You can see from his kit list James’s studio is compact, consisting of little more than a heavyweight PC, an Edirol audio interface, a Fatar keyboard and a pair of Tannoy Reveal speakers. All of his instrument needs are handled by various VSTIs and mastering comes courtesy of TC Electronics and Waves plug ins. “I love the TC compressors, so I’m saving up for a TC Powercore card at the moment.” Reassuring words for all of us computer musicians out there: you can achieve a big room sound on a bedroom studio. With companies like Propellerheads, Cakewalk and Native Instruments all urging us to abandon our outboard gear, reach for the mouse and point and click our way to stardom, there must be a downside to this approach? “Nowadays anyone can pick up some software and make music, there are tons of free instruments and plug-ins out there. It’s a good thing that almost anyone can start producing but obviously in turn there has a been a lot of soulless crap coming out. Quality control will hopefully come back soon.” Sentiments echoed throughout the music industry I’m sure.
What tips do you have for young guns eager to start writing music?
“Get a computer and download the tons of free software there is out there, its all you need…but try and do something different, be creative….”
What’s next for Border Community?
“We’ve got an EP from Petter coming next and it’s amazing, really good. Techno, but with a different twist. I’m very excited about it, they’re shit hot at the moment.”
And yourself?
“I’ve got a new double mix CD for Balance coming out, and I’m off for my US tour tomorrow.”
