“I used to mess with my dad’s turntable when I was three, busted a few styluses trying to play Dire Straights records or something like that.”
When did you start making music?
“I used to mess with my dad’s turntable when I was three, busted a few styluses trying to play Dire Straights records or something like that. But I got more into music when I started playing the saxophone, when I was eleven. A couple of years later someone played me some Coltrane – I loved it. I worked a paper round to buy jazz records. Hype and Randall mixtapes used to supplement my record collection, which was comprised only of Coltrane CDs.”
When did it turn into anything like the music you make right now?
“After I graduated music school I put the saxophone down for a while, locked myself in a room with a computer, and got to work. It’s evolved but in a lot of ways it still sounds the same.”
How was the CDR club and playing alongside Floating Points? Do you feel an affinity with him and the Eglo crew?
“Yeah, they’re great. I don’t know them well but their music is phenomenal, they’re doing it for the right reasons – it feels pure. CDR was big for me, especially when I first started going – I highly recommend it to any young producer.”
How did you start working with Planet Mu? Did you approach them or vice versa?
“I sent a few demos out, Marcus Scott played it to Mike Paradinas who liked it.”
How would you describe your music? In terms of tempo and structure it doesn’t seem to fit any one conceivable genre.
“I think when people come up through a scene or culture, then they have an authentic connection to their scene or genre, but I never had that – I grew up in Cambridge and then went to Boston. I felt like I should just do my own thing. To be honest I don’t think about genres — music is music.”
How do you think it fits in with the current (predominantly UK) bass scene, given that your single contains remixes from FaltyDL, Mike P, and Shortstuff?
“I think it fits.”
What are some of your major influences, and the touchstones that affect your music?
“As a saxophone player I used to transcribe Coltrane, Rollins solos, and all that, so those influences were direct. But with the music I make now it’s different. I’ve paid my dues, I’ve studied and I’m not into that anymore – I don’t mean to say that I’m not affected by what I hear but I’m trying to let my own ideas come to the fore.”
“As a saxophone player I used to transcribe Coltrane, Rollins solos, and all that, so those influences were direct.”
One thing I notice about your music is the prevalence of percussion and rhythm, with perhaps more emphasis on these things than in your ostensible influences — where does this come from?
“Yes mate. Cuban music. Indian music. Cuban rumba is amazing.”
Your music evokes a very nostalgic feeling; is this intentional?
“There’s a certain vibe that I like. It’s hard to describe; I don’t hear it as nostalgia but maybe that’s how it comes out. That’s what’s interesting though — everyone hears everything differently.”
How do you make your tracks? Hardware, software, etc.
“Logic 9. It’s mainly software – musically it doesn’t really matter what you use. Sonically it’s a different story I guess. To be honest, I don’t really rate myself as a ‘producer – I’m not that technologically aware – I want to get better though.”
Do you feel any affinity with the ‘chillwave’ movement coming mostly out of the US? It’s that feeling of nostalgia again, that possibly connects you and them.
“No, not really.”
How did the album come together, and how long have you been working on it? Were the songs all produced with the intention of being on an album together?
“The album is old and new. A couple of those tracks are 5 years old. I was planning an EP, but the album came together over the last few months with Mike Paradinas’ help.”
The title Night and Day – where did it come from?
“I wanted to convey the two different sides to the music as I see it. To me, some of the music had a darker edge, and some of it lighter. It’s a really simple analogy. I like titles, but the substance is in the sound and not the words. I hope.”
‘Memories’ stands out because of the apparent focus on vocals — is this a direction you’ll be moving in for the future or is it just a one-off?
“Yeah, it’s something I want to work on.”
Would you consider working with another label at this point or is it Planet Mu all the way?
“Haven’t thought about it, really. I’m open to whatever, but Planet Mu have been great. Their philosophy is right – Mike just puts out music that he likes.”
Who are some current producers or groups who really get you excited? Is there anyone you’re dying to work with?
“Producers: Flying Lotus, Floating Points, SBTRKT, FaltyDL. I’m going to work with some vocalists next, and maybe get some friends to play some live stuff on some tunes with me – it would be good to be playing again.”
What’s in the cards for the future of Oriol?
“I don’t know – I’m just glad to have the opportunity to do what I’ve always wanted to do.”
Andrew Ryce
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