For the release of the cassette version of hypoetical’s Swing Shift we caught up with the man behind the tape to see what went into the making of the project and what inspires him.
Space & Sound: How did Swing Shift as an album come about?
hypoetical: As much as I wish music was a full time job, it isn’t for me. Running a business and taking responsibility for my daughters’ education full-time only gives me small pockets of free time to make beats these days. The title “Swing Shift” is a metaphor for those offbeat times when I can switch focus to making music. This beat tape is the byproduct of those moments.
S&S: What did you use to produce these tracks?
H: 3 of the beats on “Swing Shift" were created using the MPC2500 and vinyl. The rest of the tracks were created on my iPad using various sample manipulation apps and lo-fi filters. I was attracted to the iPad's flexibility and portability, so I sampled vinyl from my Columbia GP-3 into the iPad where I did all the chopping and construction. I banged out drum patterns with my MIDI pads and manipulated and played sampled sounds directly on the touch screen with some really innovative apps.
S&S: How has your setup changed over the years or since this?
H: Early on, I made beats using only software and vinyl (think ghetto rigged PC with bootleg Windows 95). I moved on to various hardware samplers and drum machines, and now I’ve transitioned to a mix of both with mobile technology. For me, it’s the best of both worlds because I can make beats practically anywhere and if I wanna sit in the studio I can sample from the hardware I’ve accumulated over the years. I’m not gonna lie, I was in my “hardware snob” phase for a minute but I’ve gone back to my Silicon Valley roots and really embraced this new technology. Right now it’s about quality of life and efficient workflow, my new setup helps me achieve both.
S&S: Can you describe your creative process? Do you start with a vibe or sample or something else?
H: I don’t think I ever went into making beats with a blueprint. It usually begins with one of three things: a drum pattern, a dope sample, or sound improvisation. From there I just add layers and connect the dots with small pieces that I feel fit sonically. I don’t consider myself a composer, I really just enjoy simplicity and subtlety (I can listen to simple loops forever). My previous experience as an emcee was a heavy influence on how I craft beats. If the beat makes me want to drop bars, then I know it’s on the right track. I do, however, have an affinity towards mellow music.
S&S: What inspires you in your creative process/endeavors?
H: Probably the madness within my mind 😱. It takes some effort for me to stay in the moment, so the process of creating is somewhat of a sanctuary for me. Being able to flip some of those unnecessary mental processes into something tangible keeps me motivated to create stuff.
S&S: How much does your environment influence your art? You're originally from the Bay Area but are now based in Hawaii. How has that change affected your art?
H: Hawaii’s overall vibe is definitely more care-free than the Bay Area and San Jose where I’m from originally. Even so, there’s a lot of creative energy out here despite its notoriety as a fantasy land. The environment does have a calming effect and I feel it helps my productivity, but it’s that energy and drive from the folks I’ve met that inspires me to keep creating. It also helps we tend to get slept on out here so it’s motivation to represent Hawaii as a place that does have art worth checking out. Aesthetically, I noticed my tracks weren’t as dark as they used to be so I have that going for me :).
S&S: You also do motion graphics and VJ, how similar is that to your beatmaking process?
H: Funny, I never thought about it but my visual process is very similar. Unless I’m working with specific requirements from a client or collaborator, it’s the same arbitrary approach I have with music. There’s obviously a certain aesthetic that I’m attracted to visually so much of that is conveyed in the visuals I create. The construction of it all usually begins with random sketches or experimentation and eventually evolves into a finished piece with some kind of coherence.
S&S: What are some of your favorite records right now?
H: Currently I’ve really been vibing on Teebs and Odd Nosdam’s work. They’ve both been on pretty heavy on rotation for me recently. It’s hard to narrow down my most favorite hip hop record of all-time but Labcabincalifornia by The Pharcyde ranks up there real high mostly from a production standpoint. Ironically, some of my most beloved music only exists on tape – a lot of LA/Bay Area underground hip hop from ’95-’00. To be specific, cats like Controller 7, Log Cabin, Onomatopoeia, Megabusive, Esoin, The Dereliks, and Deeskee.
S&S: How about any movies or TV shows that you’re digging?
H: I’m addicted to documentaries, especially anything that involves the study of humanity and sociology. My favorite documentarian is Adam Curtis, pretty much anything he creates makes you question your own reality. The kind of movies I enjoy are usually in the “wtf did I just watch” spectrum, flicks like 2001: A Space Odyssey, Enter the Void, Requiem for a Dream, Run Lola Run, Eternal Sunshine of the Spotless Mind, 8 1/2. I admit that some of my favorite movies have no closure whatsoever.
S&S: Are there any favorite food or food spots you have either in Hawaii or California?
H: Maybe it’s the asian in me, but I can never have enough rice and noodles. My favorite local food spots are Tanioka’s for their poke bowls and The Alley in Hawaii for their mix plates. In the Bay, I make it a point to stop by Orenchi Ramen in Sunnyvale and Su’s Mongolian in Santa Clara. Personally, I feel the most slept on Japanese joint is Gombei in Japantown, San Jose. Their yakiniku-don makes me cry in yearning and Anthony Bourdain should’ve went there instead of Minato on his episode of Parts Unknown.
S&S: What about any books you'd recommend?
H: The majority of books I read are non-fiction and I’m about halfway into a book about the origins of the various human species called “Sapiens” which I’m really enjoying. I always have to recommend Howard Zinn’s “A People’s History of the United States” and “The War of Art” by Steven Pressfield for my fellow creators that need a kick in the ass.
S&S: Anything else you enjoy or inspires you?
H: Not many people know this but I geek out hard on niche Japanese developed video games. Big fan of the works of studios such as Q Entertainment, Platinum, Treasure, Atlus, and Clover. I’d say a lot of my visual influences come from the styles of my favorite games and surrealist art.
S&S: And lastly, any shout outs?
H: Shoutout to my 3 favorite people ever Zona, Uni, and Baba - if we weren’t all on the same page this life wouldn’t be as fulfilling as it is.
Swing Shift is now available on cassette tape at spacexsound.bandcamp.com and spacexsound.storenvy.com
Check out more hypoetical:
hypoetical.net
hypoetical.bandcamp.com
soundcloud.com/hypoetical
vimeo.com/hypoetical
facebook.com/hypoetical
twitter.com/hypoetical
instagram.com/hypoetical
Really happy to release Hypoetical’s Swing Shift for the first time on cassette. It features a previously unreleased track, Disconnect To Reconnect, so go to spacexsound.bandcamp.com and get your copy now!
All tracks produced, arranged, and mixed by hypoetical 2012-2014.
Mastered by VPD of Dusted Wax Kingdom.
Crafted with aloha in Oahu, Hawaii.
Cover sketch by Dennis Carbonell
Dusted Wax Kingdom, 2015.
New beat tape from the homie AiRLOCKE up now at airlocke.bandcamp.com. Cop now for a fresh soundtrack to your summer. This collection of beats celebrates AiRLOCKE’s return to producing after taking an extended hiatus last year. The vibes are sort of mystical, like a love spell, but a beautiful one at that. Fans may find these twilight vibes reminiscent of 2014′s Dusk Till Dawn beat tape but with some updated flavor. Tvrk is featured on the hard-hitting beat of 44th Ave, co-produced with Ian McKee. Check out visuals for the track these green eyes at https://www.youtube.com/watch?v=R2tuNI38iXI.
For our new tape we are pleased to have Bay Area producer Ridgewell. His lo-fi beats feel hazy and nostalgic with a modern day twist. For this release, Unburdened, we find the producer with some gritty late-nite beats and sunny day gems that could be the soundtrack to some found 8mm footage. We ask him about this tape and what it means to him along with how his photography plays into his creative process. Get a copy of the tape with the companion mini photo zine at https://spacexsound.bandcamp.com/album/unburdened.
Space & Sound: What does this release mean to you? What are you unburdened from?
Ridgewell: This release is made up of beats, old and new. Basically, they were sitting on either Soundcloud or my hard drive and I wasn't doing anything with them. It feels good to get them out there and on a physical release. I'm unburdened from the music itself.
S&S: Can you talk about your production process for this album and how that differs from what you'll be doing for future projects?
R: I had a pretty straight forward and simple setup/process for this release. I bought or borrowed vinyl; if I liked a sample I would record it to the SP-404. I would find a drum break or a drum kit that I liked and also put that on the SP. The sample, break, kit or whatever would either get chopped or looped, whatever sounded better to me. After I figured out the structure for the beat, it got recorded to my tape deck. For some of the beats, I added effects from the 404 while I was recording to tape. The tape recording went out to the computer. As for future projects, I would like to experiment with more equipment. I like my setup to be small. Too much equipment makes me anxious or something... It becomes a bit overwhelming; but maybe adding a DR-202 and a small synth like a MicroKorg or Alesis Micron couldn't hurt. Basically, I want to get more experimental and "musical" with my sound.
S&S: How much does your photography relate to your sonic productions? Are the creative processes similar?
R: My photography is very similar to my beats. Most of it is very "spur of the moment". I don't like to plan in advance or get people to strike a particular pose or anything. Most of my favorite shots (of people) are usually taken on an impulse and without their knowledge. I also make mistakes, but I like it that way. If a shot is over/under exposed or slightly out of focus it just adds to the overall composition. If you listen closely to my beats, you can hear mistakes and spontaneous moments, like faulty cables making noise, not using effects in time and throwing in random changes when the mood strikes. It's weird, because in my day to day life I like to plan things in advance. If I make plans with people, I call them a few times and make sure they're still planning on meeting up. With my music and photography it's the complete opposite mentality.
S&S: What cameras do you like to use for your photography?
R: I started off with a couple of point and shoot cameras. One was digital and the other was analog. Then I purchased a Pentax K1000, which is basically a 35mm SLR originally designed for students to learn on. I really like that thing. Specifically the fact that it's completely mechanical so it can operate without a battery. Earlier this year I began taking a photography course at school. The teacher suggested that I purchase a digital camera since it's cheaper (in the long run) and the whole process of taking shots, printing them and putting them on a CD/flash drive is a lot more straightforward. I took her advice and bought a Nikon D3200, which is an entry level DSLR. I have actually enjoyed shooting digital, surprisingly. I don't think digital looks as good as film but it's still a lot of fun to shoot with. To be honest though, I'm going back to film as soon as the class is over. Like I said, film just looks better to me.
S&S: What inspired the photos and tracks for the album?
R: My whole process is very spontaneous. I lugged my K1000 around with me wherever I went and took shots whenever I felt like it. The beats were all done on the 404, along with other hardware, so I guess hardware was an inspiration (especially the SP-404). A lot of people prefer DAWs because a lot of hardware is limited. I don't think limitations are a bad thing. There are usually workarounds and having limits on your production will force you to hone in on one idea, instead of, "how technical and crazy can I make this beat sound?"
S&S: What are some other inspirations for your creative process?
R: I used to be an avid reader but I haven't really been reading for the past couple of months. The last book that I read was The Reluctant Fundamentalist, by Mohsin Hamid. It's about a Pakistani's experiences in the US, post 9/11. Very interesting read. As for film, I always find myself re-watching Somers Town, directed by Shane Meadows. Such a beautiful film... the cinematography, the story, the setting, etc. Lastly, the Marin Headlands have been very inspirational. Just a beautiful area. I like to go out there and spend a couple of hours walking around and taking photos. It never gets old.
S&S: What is next for your Ridgewell project now that you are unburdened from your older material?
R: I would like to experiment more with my music. I would also like to shoot more portraits. Even though I will always love shooting unplanned things, it would be interesting to have access to a professional studio with floodlights and whatnot. See what I can come up with. I also want to learn how to use Adobe Premier, so I can make music videos for Haju Tapes releases, as well as my own music. I bought a VHS camcorder and it has just been sitting in my closet for the past half of a year. Other than that, I think I'm going to invest in a road bike. I just think biking around is great for your health and a viable form of transportation... kind of a two birds with one stone kind of deal.
S&S: Can you talk about your involvement with Haju Tapes and See See Tapes and what's in the future for those labels?
R: I started See See Tapes around a year ago with a buddy of mine. We put out a couple of releases. I'm done with that label but I talked to my friend and he wants to keep it going. More power to him and I hope it's a success. As for Haju Tapes, I started that label during the end of 2015. We have five releases out so far and we're working on our sixth. Basically the goal is to release any artist that I enjoy listening to. It doesn't matter if they have 50 Soundcloud followers or 5,000, as long as the music is good and they're doing something different. It's been really fun so far. I get to do the design work and some of the artwork which is very rewarding. Hopefully I can keep it going for as long as possible.
S&S: What are some of your favorite recent tape releases?
R: That's a tough one. I'm currently listening to Love, a mixtape by Ember Small, released on SICKONASTY. It's really good, I feel like it's going to be getting a lot of plays this summer. Teen Suicide's new album is pretty good, just picked that up on tape. Dil Withers' Studies is pretty solid, especially the bonus cassette only tracks. TMCT's Land Cruiser has been on repeat. He's really good at doing an updated version of that 90's Boom Bap sound. Just bought a Knablinz tape, off of G.O.A.T. Beetz. Pretty solid stuff.
S&S: And lastly, any thank-you’s or shout-out’s?
R: I would like to give a shout out to Mark Aubert and Bluezr for getting me to pick up an instrument and also start making beats. I remember Bluezr was the first one to get a 202, then Mark got a 303, then I drove to the East Bay to pick up my 303. Good times. That was around a decade ago, time flies. Thanks to Humble Weight, for putting out my first release... Low Key is that dude. I would also like to thank every artist that has worked with me on a Haju Tapes release. Lastly, I would like to thank my parents. They hate the fact that I make music but they still support it since they know that I enjoy doing it. Almost forgot, thank you to Trav, Annie and Vezzen of Space and Sound... This release wouldn't have come into existence if it wasn't for you guys.
More Ridgewell:
soundcloud.com/ridgewell
ridgewellmusic.tumblr.com
twitter.com/ridgewellmusic
facebook.com/ridgewellbeats
ridgewell.bandcamp.com
hajutapes.bandcamp.com
Cop at tape and mini photo zine at spacexsound.bandcamp.com/album/unburdened
For our seventh release we have Bay Area producer Ridgewell with his album Unburdened available now at spacexsound.bandcamp.com. Each tape includes a companion mini photo zine featuring photography from Ridgewell. The mini photo zine is also available by itself which includes a digital download of the album. More photography from Ridgewell at ridgewellmusic.tumblr.com. Listen to the tracks after the jump.
Wrapping up KuroKumo week with his debut EP, Shadows. Read more about the EP on his Focal Point. Shop his EP on our store or Bandcamp.
Dubbed on smoke-tint cassette tapes for your listening pleasure. Includes KuroKumo's cassette-only remix of White Iverson. Limited to 50 copies worldwide.
Also, for the first time ever, we are available in stores! Cop a tape in Honolulu, HI at About The Goods, Lightsleepers, and Mori.
The EP is streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it's released.
Continuing our Hawaii month, we recently caught up with Honolulu based producer Brandon Udani aka KuroKumo. to pick his brain on music and life. Being born in Alaska and raised in Hawaii, KuroKumo offers a unique take on electronic music. One thing about KuroKumo is that he wasn’t always KuroKumo and his music has gone through many shifts and experimentation before he landed on the sound he has today. Read more about Brandon and his work after the jump and stay tuned for more next week.
You're no stranger to music. We first learned about you as half of ALT/AIR, then solo as Kowai Kowai, and now as KuroKumo. How did you get started? Tell us about the name KuroKumo. What made you change your name?
I’ve played the guitar for most of my life. Growing up playing in bands and having that experience really helped me transition into making music with a DAW. It was just a matter of learning the program. When I got comfortable I started to upload my music to MySpace and send it to friends on AIM under the name Kowai Kowai. This is how ALT/AIR started. Me and Aly Ishikuni would send each other demos and vocal recordings and eventually headed into the studio to record the ALT/AIR EP.
There’s not much of a reason in the name change other than to start fresh. I wanted to take what i learned from producing as Kowai Kowai and in ALT/AIR and create a different sound with this project.
You're from Honolulu, Hawaii, the state capitol. Does being from a more isolated environment, as it is not connected to any state, impact your creative process? What sparks ideas for you?
I would say it does. There’s only so much you can do or see before hitting a creative block. When I can’t write I usually go through my sample library or mess with my synths till I come across a sound I find interesting and build from that. Even with DJ sets..I take note on how a crowd reacts to certain songs and that gives ideas when I get back to writing.
We recently met up in Downtown Los Angeles. How would you compare a large city like LA compare to Honolulu, in terms of music and ideas? What is the music scene like in Honolulu?
The world’s best artists/producers/DJs come out of LA so theres that. You get to be face to face with people that are pushing music in new directions. Hawaii has that but I feel they’re all hiding away pushing everything out on the internet. Trying to bring their music out of Hawaii. The music is scene is a lot smaller than I remember it being a few years ago. Theres new hip hop artists and indie bands popping up that I wish had more exposure in a big city.
You're dropping your (first) EP, Shadows, exclusively through Space&Sound. Could you walk us through the process of this EP? What were some of the thoughts going through your head during the making of Shadows?
“Flash” Grant Gustin is a funny dude..
“Shadows” started to the form during my stay in Los Angeles. I really wanted to capture the fast pace, size, and craziness of the city. I just love being there.
“Light” is the happier song on the EP. Alt/Air was heavily influenced by Capsule/Perfume and I wanted to bring that vibe with this track.
“00:06” was made at the end of a long day. I had this synth loop playing and I kept building on it. What’s funny is I kept building on it only to strip it back to a few elements. I wanted this to be a song you can relax and unwind to. The drop is when you finally release all that stress.
Any notable influences or moments that really impacted you during the making of this EP?
The trip out to LA really helped me clear my head. The beginning of this year put me in a really negative space mentally. Having a break away from this small island put me back on track and allowed me to get creative again.
What equipment do you use in your production?
I don’t really have much on me when I work on music. Keeping it simple with just a laptop (running Ableton Live), headphones, and an external hard drive to back up projects. Every now and then I’ll run any hardware that I have back into Live and chop it up there. When I’m ready to finalize things I’ll take it out to a studio.
What are your daily motivators? Is it bars, restaurants, books, TV, movies, etc?
The thought of being able to create and share your music with others. Of course there’s my family and friends. DJ Khaled’s snapchat is a big one for me. Turkey sausage and egg whites.
Music, especially in Hawaii, has been evolving over the past few years. What are you listening to lately?
My current playlist revolves around Wavves, x&g, Motez, NxWorries, Rustie, and Tame Impala.
Lastly, what's next for you? Can we look forward to a full length album from you?
I’ve had a few projects lined up since starting this EP so it’s gonna be straight to working on those. An album is definitely something I’m working towards. You can expect more singles and remixes till then!
Post Malone - White Iverson (KuroKumo Remix) by kurokumomusic
Happy new year! Sorry, we’ve been in hibernation and catching up on life on our end, but some exciting things coming up! Stay tuned.
For now, live from Honolulu, HI (literally, even though she’s based in NY now) is Nancy Shon and her super chilled out mix. Listen after the jump, complete with track list.
Track list:
dj sapien - music for the people
the cool kids - summer jam
flamingosis - summer solstice
pete rock - smooth sailing
j dilla - so far to go
kaytranada - tiens ton fusils
handbook - make amends
question - channels
nightmares on wax - finer
elaquent - through the looking glass
slum village - fall in love
de la soul - sunshine
harrison - mulch
groove theory - time flies
dibia$e - beautiful day [rmx] o.g. instrumental [93] co prod. N/A
We’re late on posting about this but earlier this year, one of our favorite Norwegian producers, Lido, teamed up with the very talented Canblaster to create Superspeed. The collaboration resulted in a crunchy, pounding, exciting six track EP. Listen after the jump. Also, watch the behind the scenes of how the two worked together.
If there’s one music blog/creative studio/hard to nail down collective that we admire it has to be Yours Truly. Their combination of in-depth interviews, photography, and web design create a unique reading and watching experience. So we’re stoked to see brother-sister duo Tennyson featured right now with a free download of their new EP, Like What. Gotta love the kawaii and CashyCat vibes along with found sound samples and yazz piano riffings. If you haven’t heard them before definitely check them out and all their previous material.
The other half of Air’s debut solo album, Contrepoint, came in under the radar for most of us. Luckily this film, clocking in close to an hour, did not and gets us interested to hear the studio versions. We love the solo bass versions that resonate among statues and busts as well as live concert footage to round out the experience. Now, if we just understood French.
Where have you guys been all our lives? Stumbled upon these guys today and we’re completely feelin’ it. Christian, drum n’ bass producer who goes by Xian and Aaron who makes music under the alias Gaszia are X&G. The two are Los Angelenos who moved to Salt Lake City and began making music for the label Damn Son. (Separately.) It was there the two found a perfect work flow despite their different styles. X&G are currently signed to UK label, Trapdoor Records, and have just released their second EP, 4am. Listen to the title track and be prepared to be blown away.
pixelskylines
theartofmadeline
2087
turnnoffyourmind
origamiaround
jacobvanloon
blakekathryn
izzy806