Bxentric is a guy who we have followed for a fair few years now, it has been absolutely amazing to see his sound progress and his output most recently through his own imprint Nanda Recs has been 2nd to none and turning a lot of heads and getting some solid radio support from the likes of B Traits. The Sakura Fall EP is due soon on vinyl with a remix from Matt Karmil who is another big favorite of ours. So while you listen and get into his mix we thought we would dig a bit deeper into the man.
As an artist, I get the impression you have a very specific idea in mind when you go into the studio. I imagine you work towards that idea that you have in your head rather than a more free form session where you just see what happens?
I do have a specific idea utilising past memories to form the output recently. I spend months prior to the final 2 day studio session, creating the soundscape that I feel reflects this one memory and everything else resides around that too. Because I’ve such a definitive concept this allows me to be “more freeform” within the final session to a degree. I’ll always let things flow as naturally as possible within the concept I’ve created and over time I know when to pick my fights in regards to the sounds or melody and beats. I love happy accidents so if I was to not allow some freedom in the production I wouldn’t get those pockets of magic that in my opinion create the individuality of the track. I then set a final studio session to add that pressure of completing a track, otherwise my mind would constantly be moving to the next idea and I’d never finish piece.
I know you like to strive for your vision, sometimes to a high degree of obsession. Do you think it’s about chasing perfection in your music, or is it about something else?
Not perfection as such but to reach my expectation. I just want to make sure I have the exact complete piece of work that I vision, however if anything is out of my control I’m learning to understand that, but I’ll certainly exhaust every avenue before submitting. I know this slows down my output a lot less than others and it’s affected me in ways I never imagined but I’m learning to chill.
You press vinyl; in fact some of your best work has come since you moved onto the format with your own label and music…why do you think that is?
I don’t think vinyl has a major part; I’ve just naturally matured through each release. Vinyl just was the next step for me as a producer; I come from a vinyl background so for me this output is what I’ve dreamed of having. I want to put the best of what I can do within my means.
You work with others a lot, both in terms of engineers, producers but also artists as well as getting your own hands dirty. Do you see yourself as more of a visionary producer bringing the concept together?
One hundred percent! Over the years I’ve met and now work with kindred spirits. Together they help me complete each concept to the highest possible standard. I’d find it a bore being on my own, I’m fully aware of my own limitations and I love each part of the process I go through with my friends. Having such a close creative community helps me portray what I envisage.
Often you have nice video work to go with your records, what do you see as the relationship between your music and the visual arts?
I never imagine a movie without music; could you imagine the starting credits of Star Wars without that awesome music? It’s the same the other way round for me. Whether it is my own imagination or when I’m lucky enough to call my friend up and ask him if he’ll help. I just can’t imagine sound without a picture, I see my music and visuals as a symbiosis.
To get a bit of an insight into the label, tell us some insight into the process of writing your new record?
I had only planned to do one track and have two remixes like I’d previously done. But having finished Sakura Fall quicker than anticipated I was left with one full session, I had no idea what I was going to do, but quickly realising I had always wanted to use the battered old piano in the corner of the studio I was then inspired to create something in the vein of Steve Reich, having just been to see Music For 18 Musicians performed on the south bank. Lucky for me not only is my Engineer great at mixing he’s a musical force and so I asked him to play it for me. We recorded layers of piano takes then hooked up the drum machine after the end of the first day for the first time in my experience I was totally sound blind along with my engineer who also lost all aspects of the track with me. We cut two arrangements anyway and hoped we had something. Luckily when we came into the studio the next day one of the cuts was pretty much what you hear but for the high hat ¾ ways through. I’ve learnt its ok to get lost in the creative madness and trust to not trust your ear and just keep going with that single idea you originally had and just run with it. This was to become ‘Afon’ which completed the story behind what I wanted to portray. So instead of choosing two remixes I’ve put Sakura Fall and Afon on the A side whilst on the B side I have the great pleasure of having Matt Karmil provide me his version of Sakura Fall.