Interview with ØPhase: The Artist on to His Next Magnum Opus
“He hones it over time. He doesn’t rush things and that’s what makes him great,” Nick Dunton (65D Maverick) says of Ashley Burchett (aka Ø [Phase]), who released three EPs on Dunton’s Inceptive prior to joining Belgian label Token in 2007. ‘Honed over time’ is in fact an expression that resonates with Ø [Phase]’s production style and his streamlined, sharpened sound aesthetics. One look at his discography suggests that the London producer may not be particularly known for vast amounts of output, but for delivering a steady stream of quality EPs over a decade. Many traits can constitute quality; for Ø [Phase] one of them is the staying power of his music. Take his Binary Opposition EP that came out early this year – when a shot life cycle of many techno tracks is the nature of business, after almost a whole year of continuous rotation “Process 1” & “Process 2” shows no sign of fatigue, always giving a certain commanding power when deployed. Token’s label founder Kr!z says, “I keep on rediscovering his older Inceptive tracks, and even older Token tracks that I didn’t play a lot when they came out. They are getting heavy rotation now. He’s just that kind of artist, all his tracks have a timeless, classic feel, and you can go back to them and hear something you missed the first time.”
Ø [Phase]– Binary Opposition (Process 1) (Binary Opposition EP, Token, 2012)
One might argue Binary Opposition and its remix series Binary Opposition Reprocessed, both came out this year, are the ones that really put Ø [Phase] on the map in terms of recognition from a broader audience; which goes to say Burchett came a long way since releasing his first EP Module Overload on Steve Bicknell’s Cosmic Records in 2000. Surface Records co-founders Nick Dunton and Richard Polson, who were also releasing their music as Spirit on Cosmic at the time, struck up a friendship with Burchett that led him on board with Surface. “Both Rich and myself were fans of his sound,” recalls Dunton, and when they started Inceptive as a platform for showcasing lesser known up and coming talents, Ø [Phase] was ‘the perfect choice.’ Kr!z was another early fan of Ø [Phase]; “I was heavily into his first two releases on Inceptive Obscura and The Passenger. I liked everything on Inceptive, but for me that label ‘was’ Ø [Phase].” Noticing Inceptive gone quiet after Ø [Phase]’s third release in mid-2006, Kr!z, who had been toying with the idea of starting a record label of his own, thought he would ‘give it a shot’ and reached out to Ø [Phase] along with Inigo Kennedy. Ø [Phase]’s first Token release Mass EP was the result, which was an overall success - well received, supported by many DJs – and a great start of long-standing artist-label relationship. “I am very happy that Ashley has found a nice stable home with Token and Kr!z,” says Dunton, adding that his love for the producer and his music hasn’t changed.
Ø [Phase]– The Hyperorganism (Mass EP, Token, 2007)
Undoubtedly, Ø [Phase]’s sound identity has fully developed over the last couple of years since he found a home with Token. Touch of Detroit techno has been always there, especially with his earlier outputs from Cosmic/Inceptive era or even with earlier Token releases such as groovy Hoodian “Morodem” and Jeff Mill–esque Sci-fi feel of “Decode.” With a few recent releases though, he seems to be nailing even further down with obsessively menacing yet tightly controlled racing techno sound of Ø [Phase]. Regardless of the direction the producer’s heading towards, what strikes me the most is that he always seems to know how to pack the most energy into a track without overdoing, in the best optimized way possible. It’s that kind of efficiency and effectiveness – and the sense of elegance that comes with something well-made - that translate into the quality of his music, all of which go hand in hand with ‘timeless’ and ‘classic’ techno Kr!z is referring to.
Ø [Phase]– Plateau Station (Transantartic EP, Token, 2011)
Following is an interview with the man himself, who calls the recent Binary Opposition Reprocessed – a remix package of his Binary Opposition originals by six highly coveted names of techno 2012: Planetary Assault Systems, Ctrls, Sigha, Peter Van Hoesen, Ben Klock, and Inigo Kennedy - a learning experience. Currently working on his album due out next year on Token, Ø [Phase] answers a couple of questions to reflect a prolific and successful year that’s set to serve as a stepping stone in his career.
Your recent release Behind The Sun EP is a nice contrast to Binary Opposition EP, the aggressiveness seems to be toned down a bit but both tracks have very unique personality – especially with the title track that feels almost melodic. Were you in a slightly different mood?
“Behind The Sun (track)” actually dates back to the beginning of this year and came off the back of the original Binary Opposition sessions. It wasn't intentionally toned down. I tend to just take each track I'm doing in whatever direction it wants to go. I finished “The Chasedown” in the summer. We choose these two for the new 12" partly for the contrast as you say. Though I don't actually have anything quite like Token 20 in my archives at the moment and I don't believe in re-hashing for the sake of it.
Ø [Phase]– Behind The Sun (Behind the Sun/The Chasedown EP, Token, 2012)
Binary Opposition Reprocessed remix package is definitely a very successful, brilliantly thought out release of 2012 - not to mention the participating remixers are literally who’s who of current techno scene. How was the overall experience - were you involved in the selection of remixers at all, and are you satisfied with the outcome?
I was really excited having the remixes done. It's fascinating to see how someone else will re-order and re-design the sounds you've created. It also teaches you things about production if you’re prepared to listen carefully to the results. Kr!z was responsible for the selection of remixers, though we do discuss those kinds of things in depth before moving on. I'm happy with the results, yes. I think they're all really unique, interesting and usable.
Ø [Phase]– Binary Opposition – Sigha Process (Binary Opposition Reprocessed EP, Token, 2012)
Token’s Kr!z is known to be very keen on nurturing long-term relationships with the label artists such as yourself and Inigo Kennedy. What was that really clicked for you in the beginning that led you to join the label?
It was initially Kr!z’s personable approach that drew me in. I could see he was serious about his ideas. He's also fairly persistent!
Since you’ve became a part of Token in 2007, you rarely worked with any other labels. Do you feel that finding a right label as sort of a ‘home base’ is important for an artist rather than having relationships with multiple labels?
I have done a couple of other one-off bits for Surface Records and Ben Sims’ Theory Records during my time with Kr!z though those relationships were founded prior to Token. I'm certainly not against working with other labels but I don't have any real need or desire to go elsewhere at the present time. I think it's much better to stick with people where possible and endeavour to develop something interesting, also to create some exclusivity. I'm not sure it's an essential approach but it's certainly the one both I and Kr!z believe in.
Ø [Phase]– Decode (Fragmenta EP, Token, 2009)
To me Ø [Phase] has always come across as quality over quantity production wise. Do you tend to spend long time on producing each track or EP, or is it more of the case where you have a huge library of unreleased tracks but be very picky about ones to be released? Also, do you think is there a bit of pressure for a producer to put out releases and remixes constantly to stay viable?
There's all sorts of reasons why my output is like it is – reasons that have altered over the years too. The time I spend on a track has a part to play sure. I’d definitely rather take my time and attempt to make something lasting although I’ve wasted many hours polishing and tweaking then changed my mind entirely. There’s a lot of unreleased bits, many of which I play in my DJ sets but don't intend to put out. It's certainly important to release enough to stay present and it’s always my intention to release more frequently. You have to find a balance though.
Although Token is recognized as one of the stalwart labels for classic British techno, there’s also strong Detroit influence for both the label as well as your own output. UK, Detroit and beyond, who are the artists that were really influential?
I was always drawn to electronic sounding music. I was introduced to Detroit techno by an older friend (via cassette tape). My first experiences of dance music in a club environment were the UK hardcore scene, that sparked my enthusiasm for DJing but I didn't really become obsessed by techno till I heard the likes of Ritchie Hawtin (in his Probe/Fuse days) and Derrick May play at various parties London.
I'm influenced by all sorts of different artists and listen to a lot of different genres. There’s obvious ones of course; Robert Hood, Basic Channel, P.A.S, Blueprint, Sandwell District, Steve Rachmad, Jeff Mills etc. I never get tired of Kraftwerk either.
Ø [Phase]– Just Another Dance (End To The Know, Surface, 2009)
Did you go out a lot, spending a lot of time in clubs? What are some of the memorable gigs or parties you went?
The most influential parties were the ones I went to years ago - when I was at my most impressionable – Ritchie Hawtin at the Sabresonic parties - the first time I ever witnessed that kind of EQ manipulation. Jeff Mills and Derrick May blew me away countless times at Lost.
More recently I've been to some really cool parties in London's Corsica Studios - EarToGround did a Stroboscopic Artefacts Label night there featuring Xhin (amongst others). I also saw Function do a great DJ set then follow it up with a live session as Sandwell District. In fact I saw Regis tear the place up just a week or so ago! Gig-wise, the Token Label night in Berghain was the most memorable I've done this year. Brilliant fun.
Tell us a bit about the pre-Token era of Ø [Phase]. How did the relationship with Rich Polson & Nick Dunton’s Inceptive start?
I actually came in contact with Rich & Nick through Oliver Ho. Oliver came in to Whitfield Street Studios (where I worked at the time) to cut some acetates and we got talking that way. He put me in touch with Rich soon after. I did a 12" for Surface first. They set up Inceptive in 2003 and asked if I'd do the first release. I ended up doing the label artwork too.
Ø [Phase]– Spacetank (Timespace? EP, Inceptive, 2006)
Only recently few remixes by you have started appearing. I’ve noticed some polarizing opinions about the real value of remixing (including a more skeptic view such as a newcomer trying to take advantage of established name remixers) - but for what it’s worth remixing nowadays seems to be much comparable to making a new original with the remixing artist’s significant thumbprint on it. What’s your general view on remixing? And any new remixes by Ø [Phase] coming out or in the works?
There's about five Ø [Phase] remixes due out in the coming months though I won't announce who they're for just yet. I like the concept of remixing as a helpful way of giving context and association to new artists, but again, as is my general view on things, you have to keep a balance. Overkill, formulaic, just-because-the work-is-there remixing, for me just devalues an artist (and possibly, the entire genre).
Dax J & Gareth Wild– Revok (Ø [Phase] Extended Remix)
I heard that a full-length album is planned next year. Anything you can tell us about it?
It's still a work-in-progress at the moment. The final tracks are not decided on either so there's still a way to go. All I can definitely tell you is that it will draw upon ideas and pieces spanning the last 12 years.
In an interview Kr!z said that “Ø [Phase] should have been way bigger by now.” For a fact it’s not just recent times when your tracks started being played by pretty much every big name DJs including Berghain residents. Would you share the sentiment – that things have been unfolding a bit slower pace than one would hope for, considering you have been in the scene for a long time?
My rate of progress is only reflective of my own life learning curve, who I am, and the path I’m walking. There are really no other factors involved and I don’t pretend there is. Since I started releasing music, production has been mostly just a hobby. It’s only in the last two years I’ve actually had time to give it more attention.
I read that you’re also a mastering engineer and artwork designer. Are those pursuits still a big part of your life? What else do you enjoy outside of making music and DJing?
I haven’t done a great deal of mastering or artwork for some years now as mostly focused on production and DJing nowadays. I have a lot of interests and commitments outside of music and try to give most things a go. I also play the guitar so that affects my interest musically as well.
What are you looking forward to for the next 12 months?
The album will be my main focus musically in the coming months and gigging in between.
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