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Pearson Sound – ‘Blanked’ (2010)
In one sense, there’s not a lot to ask David Kennedy, the artist known primarily as Pearson Sound and formerly as Ramadanman. In another sense, there’s everything to ask him.
2010 was, undoubtedly, Kennedy’s biggest year to date. It was the year that the drum machine returned to UK dance music – specifically, this healthily category-shy dance scene that came from a love of, and then later, a dissatisfaction with dubstep – and even more so than his peers Addison Groove and Girl Unit, Kennedy found a bountiful niche for himself in amongst the circuitry of 808s and 909s (or 808 and 909 plug-ins); ‘Work Them’, ‘Glut’ and ‘Blanked’ three of his finest singles to date, and tracks that found almost as many fans in the European house and techno hierarchy as they did the UK scene that he still holds very dear.
But as you might imagine, stylistically his music is already somewhere else. Kennedy’s career to date, for this writer at least, has been defined by his working process; the way he takes a specific vibe or set of sounds, and hammers them to the point of a logical conclusion (for the drum machines, ‘Blanked’; for the woodblocks, ‘Wad’, and so forth) before moving on. Of course, things aren’t that linear, and the reason I say that in one sense there’s nothing to ask Kennedy, is because you only need to meet him once to know that he doesn’t think of his music in that way. For him, these stages of his musical development are simply natural processes of exploration, and tellingly, he’s far more comfortable when taking about his record label, Hessle Audio, or memories of producing and DJing with friends than he is the intricacies of his sound. This natural approach is one of the reasons his music always sounds so personal, even at its most dancefloor-focussed (‘Work Them’).
This month, Kennedy will release his second official mix CD, as Pearson Sound, for Fabric. FACT took the opportunity to catch up with him in an interview about trust, anonymity, experimenting and, naturally, woodblocks.
“I find all of these names a bit of a distraction really. Thatâs part of the reason Iâm changing it.”
First off, does the Fabric CD mark the start of Pearson [Sound] becoming your main musical project?
âWell I originally wanted to do the mix just as Pearson, but understandably Fabric didnât want that â Pearson doesnât have the same back catalogue as Rama, the bigger tunes Iâve made have been as Rama… so understandably they wanted him present. But yeah, I do want to start focussing on Pearson, and thereâs a lot of Pearson tunes on [the CD]⌠it kind of makes sense. But it has made the title a bit long.â
It wouldâve been late â08/early â09 that you started using the Pearson name.
âYeah, some people think I started it really recently but it was around that time. At first I started it because I wanted to see how people would react when they didnât know who was behind the tunes. And itâs not like it was top secret, but most people genuinely didnât know who Pearson was when these tunes started appearing â it was good. Eventually it transpired it was me, I mean I wasnât trying too hard to keep it anonymous, I think if you do that you just have to tell no one, really [laughs]. Thereâs no point being anonymous and being casual about it.â
Was there any element of freedom in using a new name?
âFreedom, hmm, yeah there was⌠Though I donât know if it was so much that people thought Rama sounded a certain way, musically or whatever, it was more just fun really. Though retrospectively people have applied some element of sonic differentiation between the two names, which was never my intention but itâs quite nice, sometimes to see how people interpret it⌠like, âthatâs the housey name!â, and itâs like âwell, I did do a drumânâbass tune as itâŚâ But itâs fine, thatâs what music journalists do.”
Which leads me quite nicely to something Iâm about to say…
âWell the change to Pearson⌠itâs not like with Redlight, when he went from Clipz to Redlight, and totally changed his sound [from drumânâbass], Iâm not doing that. My process is more gradual, thatâs why the CD has two names, thatâs why bookings right now are as both names, but eventually theyâll be just Pearson. Plus I havenât done that many tunes as Pearson still, so I want to get more out there⌠I figure thatâs the best way to do it.â
When you do a track, do you think âwell, this is more of a Pearson tuneâ, or âthis is more of a Ramadanman tuneâ?
âWell now itâs everything as Pearson, but before it was more just a case of âwell, I havenât done one as Rama in a whileâ⌠I dunno, I find all of these names a bit of a distraction really. Thatâs part of the reason Iâm changing it. Like if I did an album or whatever, the first thing people would ask is what name.
âI know how the music⌠well, not necessarily the music industry, but itâs all about branding now. You need a name, a logo, a concept, and I can understand how Rama might seem more of a brand, but Iâm not interested in any of that really. I just want to write more music as Pearson and let people judge it on [the music].â
“I love white labels. I think they set a level playing field.”
Personally I think an element of anonymity, or a lack of branding seems to be creeping back in to this scene, with stuff like the Objekt 12â and âSicko Cellâ, and I quite like that.
âWell âSicko Cellââs sent people nuts. I mean itâs a good tune, itâs not the best tune in the world. But the minute people donât know who it is, it drives them crazy. I think weâre so used to⌠well, I was with my friend in the car the other day, and we heard this tune on radio, we didnât know what it was⌠and within a minute, heâd Shazammed it, and heâd downloaded it on iTunes. [laughs] Weâre so used to that instantaneous culture, like you go to a club night, see a DJ play a tune, you record it, and the next day someoneâs told you what it is. And thatâs cool, to an extent, but I think sometimes that should make you question what youâre enjoying this music for.
âPart of the danger with this anonymous thing⌠Well I think the âSicko Cellâ thingâs getting a bit out of hand, that was never [the producer]âs intention to have it happen this way, they just wanted to put it out there and see what peopleâs reaction was.â
Itâs not like itâs the first time thereâs been an anonymous track on a mix tracklist.
âYeah, well itâs nice sometimes you know? There are some people who⌠well I guess weâre all guilty of it; there are moments where you wonât listen to a tune because say, âthis guy, heâs a drumânâbass producer, so I already know what itâs gonna sound likeâ. So in those cases, it does give a certain amount of freedom⌠and as you say, with the Objekt thing, it still shows that musicâs the main focus. Itâs done amazingly, and heâs pretty much unknown. Like itâs had a bit of DJ support, but thatâs it. And I donât know if youâve seen the record, but itâs just a white label with a stamp. I like that.
âThere was a stage in like 2008, 2009 where⌠I think it was mainly Pinch and Peverelist, they didnât put names on their dubs. I just like the idea of these great, black discs, completely anonymous. I love white labels. I think they set a level playing field, like itâs not about design, itâs not about the label, itâs just about whatâs on it.â
Iâve started to like it a lot when people donât give tracklists for their mixes.
âWell we [Hessle] used to provide tracklists for everything, but we just kind of stopped. Thereâs been a lot of people nicking other peopleâs selections⌠not so much me, but like Ben [UFO], who’s not a producer, his pure appeal is in his selection, and heâs put a lot of hours, and sweat, and love into finding these records, only so someone can read his tracklists, and buy them in five minutes on Discogs⌠I mean why does he have to give a tracklist? If you ask Ben what a track is, most of the time heâll tell you anyway. But again, weâre all guilty of it â if we see a mix with no tracklist, weâre less likely to download it. But then again, as soon as you see the tracklist, is there any point in downloading it? You already know how itâs going to sound. So yeah⌠I think mystery, mystery is good.â
Pearson Sound – ‘Wad’ (2009)
To get an idea about timeframe, when you started the Pearson work⌠which for me, you might disagree, is kind of when you hit third gear as a producer, were you based in France?
âYeah, I went to France as part of my degree, from September 2008 to Summer 2009⌠so you know, I was in very different surroundings â I had friends there, I met people, but it was quite an isolating experience, being away from London, away from Leeds. It was really good to be away, and I had a lot of free time⌠I think I had 12 hours of teaching a week, and I was getting paid for that, plus the odd DJ gig, so that was when I made a lot of the stuff that came out in 2009.â
Did France affect what you made in any other ways? Outside obvious stuff like the accordion sample on âGambettaâ.
âYeah, there are literal influences in terms of the sounds I used. In a lot of the music that came out in 2009, maybe even 2010, thereâs a lot of field recordings of stations, stuff like that. I was on the Eurostar practically every week, and I donât know if youâve ever been to Lille station⌠but itâs a bit of a travesty; itâs modern, but itâs very cold, very depressing, big PAs echoing around the station. But other than that, Iâm not sure how much I buy into the whole [whispers] âmusic being influenced by my surroundingsâ thing. I donât think it influenced it sonically, not massively.â
Do you still do a lot of field recording?
âYeah, yeah. Well the first track of the Fabric CD, itâs called ‘Hawker’ because itâs recorded in Singapore, in one of those hawker centres? Theyâre nuts, theyâre incredibly packed and vibrant. Well, itâs either Indonesia or Singapore⌠I really should know that. But yeah, I love [field recording], itâs fun sometimes.”
âWhen I got back from France, I lived with my parents for a while; theyâve got a big house in Dorset where I could go up to the roof and make as much noise as I wanted. Harry [Midland, fellow producer and current housemate of Kennedyâs] came down, and we spent a lot of time making tunes⌠going back and forth, like âthatâs great!â, thatâs shit!â [laughs]. Iâm trying to think what we wrote there. Thatâs the thing about all the stuff I released this year, a lot of it is old, itâs scary in a way. A lot of the tunes from the Ramadanman EP I wrote in France, âBleeperâ I wrote in 2008 maybe. But then âDonât Change For Meâ wouldâve been November 2009, the Swamp[81] stuff I wrote early 2010. âGlutâ was Summer 2009, âTempestâ is older than thatâŚâ
“Of all the nights that you shouldnât have to compromise your sound, itâs FWD>> surely?”
Something that always strikes me about your discography, is that you can see how it progresses over time, but rather than being one long chain, itâs like you have these quite specific studies, that you pursue for a period, conclude, and then move on. You had your woodblock-y period, which seemed to reach a natural conclusion with âWadââŚ
â[laughs] Thatâs probably true.â
Then thereâs the period that led up to âBlimeyâ, and this year, the drum machine-y stuff which seems to have reached a peak with âBlankedâ.
âI see it as both. I think you can trace it back. There was [also] the housier period, the whole dubstep-techno thing⌠I mean I didnât move away from it because it wasnât trendy anymore, but it was like âIâve already made enough tunes like âHumberâ, I donât want to make anymore. Iâve done it, I quite like it, so why make more when I can just explore a bit?â But a lot of the stuff like âTumbleâ, and âBleeperâ, well I havenât really spoken about this much before⌠But I was playing FWD>> quite a lot at that period, and it was a strange time for me; I think it was a strange time for dubstep. Iâd play FWD>>, and people would be playing total tear-out.â
Was this when it was on a Friday night?
âI canât remember really. But I was playing it a lot, and itâs like⌠of all the nights that you shouldnât have to compromise your sound, itâs FWD>> surely? Youâve got the club, youâve got the system⌠I had a couple of bad experiences there, but generally, I found that a very creative, experimental time for us. It was partly Untold to be honest, he started it to be honest, with his [Gonna Work Out Fine] EP.â
Yeah, he kind of kicked the doors down.
âYeah⌠it was like, just try doing it, you know? It might work. I donât think anyone else wouldâve dreamed of doing the stuff he did on that EP. So itâs not that it became a competition, but there was an element of who could be weirderâŚâ
And still have the place go off.
âYeah, I remember when Joe⌠Joe dubstep, or Joe Hessle or whatever you call him, one time at FWD>> he just ran up and pulled up âBleeperâ. I mean you just wouldnât have thought to pull it up [until then]. So the EP came out of that period, I suppose. And then I started getting more into the breaks-y side of things, which led to âGrab Somebodyâ, which sort of moved into âGlutâ, which moved into âWork Themâ. So I do see it as a narrative, not necessarily a deliberate one, but you can see the progression. I do see what you mean, about making a few tunes at one period with a lot of the same sounds. Itâs kind of both â kind of a narrative, but alsoâŚâ
Well the drums seem to be the constant. They maybe define those individual periods of your work.
âIâve got a feeling itâs the fact that when I get some new drums sounds I just rinse them [laughs] itâs all about the palette of sounds. A lot of what Iâve been making recently, itâs quite bashy, kind of New York house, and I think itâs to do with using drum sounds from that period. Then my earlier stuff, which is a lot more tribal and percussive, itâs because I got given a pack of, you know, world samples [laughs]. Itâs a practical thing, Iâve got some new sounds, I wanted to use them, and it just so happened they were all percussive. Whereas last year, I got a lot of drum machine samples, and I ended up using them a lot. I donât really think about it too much.â
Itâs probably for the best.
âYeah, itâd send you a bit loopy I think.â
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Ramadanman – ‘Blimey’ (2008)
To focus on the CD, when did you get the call from Fabric?
âIt was a bit nuts actually, I was on my way to Japan, on the train to the airport, and got the call. I was actually trying to push it as a ‘Hessle Presents’ thing, as we had the club nights at Fabric, but with three of us it wouldâve got a bit messy, and itâs not like Club Autonomic â it wouldnât have worked in retrospect.
âFabric work quite far in advance, understandably. The first thing you have to do is license everything, so you give them a list of all the tracks you might want to use, then they go off and take care of that⌠then thereâs the last minute additions, and then I mixed it in December. Itâs not out âtil March, so itâs quite a gap.
âI said in the press release that itâs representative of my club sets, which is true, but there are a few things I play all the time that we couldnât get cleared. I tried to get in touch with Rod Lee, but it wasnât happening. I play about five of his tunes in my sets at the minute, then thereâs stuff like my âDeep Insideâ edit.â
What were your very first thoughts on how to approach the tracklist?
âWell, I did Dubstep Allstars with Chef, so I had some experience with doing a mix CD, which was really good actually. Naturally, at first you start to worry, like âshould I do it this wayâ, or âshould I do it that wayâ, but youâve just got to think, they asked me for a reason. Like theyâve heard my sets, they know what I play, just do that. Not in a just boshing it out way, but you now. I was pretty certain I wanted to do it like a club set, starting slow and building up, rather than playing an hour of 130, funky-not- funky stuff or whatever. Thereâs some dubstep, which I donât play a massive amount of these days, but I wanted to get it in there, itâs what got me here, itâs what I still love, and I guess I feel the need to⌠not educate people, because that sounds poncy, but show them where my sound comes from. If you look at someone like Headhunter, he started making that techy, dubstep sound and now does driving, 808 stuff [as Addison Groove].â
Well Headhunter, in a way is like a microcosm of how dubstepâs changed.
âYeah, to a certain extent that’s true actually. So thatâs how I approached it. Thereâs only so upfront you can get, too, I put a couple of exclusive edits in, but I always knew it was coming out in March, and I didnât think there was any point packing it with unreleased stuff because itâll all be out by then anyway. Iâd rather have good tunes than unreleased tunes. I also treated it as a bit of a retrospective, like I had to include âDifferent Lekstrixâ, I played it every set for about six months, surely itâs gotta go on the CD, itâs a classic. Same thing with âLate Night Jamâ, I wanted some of the tunes that were backbones of my set around a year ago.â
Was it a different experience than the Dubstep Allstars? With the Dubstep Allstars, I donât know if you did feel this, but I could see why you might feel under pressure to represent the âotherâ side of dubstep in a way, with Chef on the other side of the double-CD.
âNot really. It was quite a reverential thing to do, I mean itâs such an important series. I recorded it in July 2009, and I was playing a bit of Funky at that stage, but I made a conscious decision not to put any of it on the CD; for one itâs called Dubstep Allstars, and⌠I guess it was a bit more of a mission statement â like âthis is what dubstep sounds like to me, in 2009â. Chefâs always played a big variety of music too, so I never saw it like âooh, Chefâs gonna play the wobblers and Iâll play the deep stuffâ. Maybe some people saw it that way, but it was never like that for me.â
âIâd rather not make blind promises; Iâd rather surprise people.”
How has running Hessle Audio changed over the years?
âWell we went for a meeting with our distributor the other day, kind of a road trip. And it just really made us think how fortunate we are â starting something from our bedrooms, putting out a few 12âs, and next thing you know weâre releasing our 20th single, planning quite a substantial project, and people are buying our releases religiously, and raving about them. Itâs very humbling, in that respect.
âI think our quality control has gone up over the years, not in terms of feeling pressure, but maybe being a bit more militant in terms of what we donât release. I think thereâs a big danger of just releasing filler, or releasing for the sake of releasing, and weâre keen to avoid that; quite consciously, in fact. I think too many labels do that. The way we release stuff has already been very natural, the Elgato tunes for instance, we had for a very long time. In fact it was me that took about a year to be convinced by them.
âIâd rather not make blind promises; Iâd rather surprise people. If you come out and announce your six 12âs for the year, by the time the last oneâs out after the inevitable delays people will be like âoh, this is old nowâ. We only announce stuff when weâve got the test presses back, that way we know for certain when itâll be in shops. It works better for everyone⌠it goes back to what we were saying about mystery, you know? People donât really know whatâs coming next on Hessle, itâs not a question of us being arsy or secretive, itâs just not making empty promises. Especially in music, when so much can go wrong. I think itâs best to keep your cards close to your chest.â
Do you still try new places for mastering the records?
âYeah, weâve used four different mastering houses. Our early stuff was on Transition, along with everyone elseâs [laughs] and they sound wicked, but youâve got to see what else is out there⌠otherwise youâll never know.â
I always thought that was quite admirable, when itâs so easy to stick with the first mastering house that does a good job.
âWell different records have different sounds, as well. Itâs like we were saying before about different music suiting different mixers, and different music suits different mastering approachs, certainly. Weâve used Dubplates & Mastering in Berlin, weâve used Precise, weâre currently using Metropolis, theyâre based in Chiswick⌠itâs a guy called Stuart Hawkes, whoâs just been cutting for years. Sometimes heâll cut my tunes, and he hasnât really done anything, and at first itâs like âcome on, canât you do somethingâ, but then I realised itâs really nice, heâs not trying to put his stamp on things. The worst is when you go in and they do stuff for the sake of doing stuff, certain tunes donât need any drastic changes. So yeah, currently happy with him but you never know, we might try somewhere else. Iâd like to try Air, actually.”
I know Floating Points swears by Air. Heâs told me he works Matt [Colton, Air Studios engineer] really hard, calling him up three hours before gigs needing dubplates cut and couriered over ASAP.
âWell it should be a good relationship like that; you have to trust a mastering engineer, same as you trust your manager or your booking agent.â
Well youâre trusting them with your music, after all.
âYouâre trusting them to not leak stuff, with how it sounds, with knowing your release schedule months before everyone else, with telling you if somethingâs wrong. I think itâs a very important relationship.â
Are you very hands on with 12âs that you release on Hessle, in terms of making the artist, whether thatâs Elgato, or Blawan, or whoever, change things before you put it out?
âMaybe a few years ago, if I got sent tunes by a producer, Iâd provide⌠well I guess youâd call it feedback. But then I realised that a lot of feedback is just telling someone how you wouldâve made it, and I really donât like doing that anymore. If people ask me about a tune, Iâll tell them whether theyâll play it or not, but I wonât tell them like âput this in thereâ. I donât think thatâs helpful. Producers should just do their. With Blawan for instance, âFramâ was the first thing he sent us, and we pretty much put it out exactly as it was. We can offer technical advice, in terms of mixdown or whatever, but generally I think itâs best to let people figure it out for themselves. Theyâll ultimately be happier with it, and theyâll learn better from it. I donât think thereâs any point trying to control artists too much.
âI guess itâs a question of A&R, developing artists⌠are we interested in that? Not massively, we donât really sign people exclusively, or anything like that. Weâre not interested in locking people down, we let them get on with it.â
Tom Lea