Contours is a Manchester based artist who’s sounds explore the space between House, Afro-Beat, Jazz, Hip-hop and Electronica; and who has released on labels such as Shall Not Fade and Rhythm Section. We were fortunate enough to speak to him around his new joint release with Yadava, coming out on Flumo and ANMA records, called Cosmic Echoes (which you should definitely check out! – Cosmic Echoes Bandcamp ).
Hey Contours, great to be able to speak to you. Where do you draw inspiration from musically?
Musically I draw inspiration from loads of different places. A lot of inspiration comes from an interest in different rhythmic practices, having grown up playing drums and percussion. I find the interlocking rhythm patterns in various styles of Cuban, Latin and African music really exciting, as well as that of minimalism. I also take a lot of inspiration from Jazz and its various iterations throughout the years. I think hearing quality dance music out in a dark sweaty club environment always provides endless inspiration. That’s definitely something i’m missing at the moment!
From my understanding you’re Manchester based? Has this always been your home and how do you feel Manchester has affected your style?
So I grew up in rural Cumbria before moving to Newcastle for University and then onto Manchester after graduating. I think living in Manchester has definitely allowed me to explore whatever music I want. It’s got a really rich and diverse musical landscape, so there’s scope to do whatever here, which I really like!
You have the Expansions show on NTS with Yadava, what do you try and project and promote when doing the show?
I guess just whatever music we’re both digging at the time. It’s definitely a platform for us both to explore the further reaches of our record collections that we wouldn’t always get the opportunity to play in a club.
It’s nice being able to draw a lineage between the disparate styles that we’re listening to. Doing radio with someone is always exciting too, as you’re constantly putting each other onto new shit they might not have heard.
Listening to your guys productions, after listening to your joint new Cosmic Echoes EP and your Bafalon Sketches, you seem to combine a bunch of different styles and genres really nicely, what’s your process when creating music?
For me, I wouldn’t say there was a blueprint or exact process for how I create music. I go through phases where I might prioritize different bits of equipment, focusing more heavily on hardware or software, or placing a heavier focus on the use of live instrumentation. In general there tends to be quite a lot of jamming ideas with live instrumentation, whether that be percussion such as the udu, congas, balafon or drum machine, then self-sampling, chopping and rearranging in the DAW.
You recently put out Cosmic Echoes, can you tell us a bit about it? And your thoughts and process behind creating the record?
Cosmic Echoes was built from initial jams between myself and Yad, capturing a load of material, before getting into the box and chopping into the raw audio. We wanted it to carry that live energy as much as possible and avoid feeling overly produced and sterile. After all, it was recorded in my front room. It was a very DIY project. We didn’t want to pretend it was anything but that.
You guys have put together a playlist for us too!
Is there any other artists or tracks in particular that have had a great influence on your music style?
The title of the EP ‘Cosmic Echoes’ is a direct reference to Lonnie Liston Smith’s group ‘The Cosmic Echoes’ who formed in the early seventies. Their fusion of Jazz, Disco, Soul, Funk, Latin rhythm and heavy use of synthesizers has definitely been an influence on us. Pioneering broken beat producer and musician Kaidi Tatham has also been a massive influence, as has the likes of Theo Parrish for his deep and soulful approach to dance music. From a rhythmic perspective artists like Shackleton and Midori Takada and Nakara Percussions have also been big influences.
Regarding everything that has happened this year, how do you think the music industry will change and adapt?
I really don’t know. I think people have really come to realise the importance of music and the communities and spaces that surround it, in terms of providing a sense of belonging and purpose. I think the opportunity for catharsis that comes from clubbing is definitely being missed at the moment too. The music landscape is definitely going to look very different though. What’s sad is that it will be a lot of the small grassroots and community-focused spaces that will struggle to reopen, and unfortunately, our government just doesn’t value club culture in the way it does ‘high art’.
After this record, what else is in the pipeline for the rest of 2020, and going into 2021 for you both?
I’ve got a forthcoming release dropping in November of a project that I recorded in Nairobi in 2018 with a group of the city’s most exciting up and coming jazz musicians. Looking forward to that coming out!
I’m also putting together another EP. Lots of drum machine focused stuff on that, Definitely trying to fill a void left by the lack of clubs! There’s collaborative stuff coming with one of my oldest pals Werkha as part of a project with a couple of Italian labels so keep your eyes peeled for that.
In general, just lots more music-making!
Thanks for speaking to us! Make sure to check out Contours socials below 🙂
Interview By: Tom Allman