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I asked everyone to deliver them like an optician giving an eye test, so they are much less emotional – they have a kind of BBC instructional feel. In contrast to these samples, there’s also this list of words (written in collaboration with my friend Es Morgan) which I recorded a few different people reading. I was interested in trying to capture the expressive potential of these voices, exploring what I can pair them with, and how it feels to listen to them. Each is a person in a moment of vivid personal experience, revealing a lot about themselves in the way they say what they say. The longer-form spoken samples on the record were ones that I found really compelling because they are voices which are emotionally charged in some way. if we walk into a room to find people we know laughing, we find ourselves laughing too, even as we say “so what’s so funny?”. We have an empathetic reaction that to me seems hard-wired… e.g. We instinctively respond to the way someone says something, even in another language. And when I work with voices I think what I’m mostly interested in is emotional tone, more than the content of what is being said. Hmm, so I think a fascination with the sound of the spoken voice is something I’ve carried with me since the very start of Wordcolour. Can you give us some information about the creative impulse behind this, and the use of spoken word in general? One very dominant aspect which is different to the rest is the (seemingly) random content of the spoken word sections. It demonstrates a huge leap forward from your already intriguing output on Houndstooth, ‘Juno Way’ and ‘Bluster’. Tone, more than the content of what is being said"īefore we begin, I’d like to congratulate and thank you on the release of your album. "When I work with voices I think what I’m mostly interested in is emotional We discuss the usage and significant of the disembodied voices circling the album, what relevance the term “ambient” music actually offers in today’s musical environment, and the artist’s plays with the concept of narrative, in an interview that turns a floodlamp to the opaque corners of the album. One month post-release, we are thankful to have been offered an audience with the producer to attempt to uncover some of the more beguiling secrets on ” The trees were buzzing…’, hoping to find the source of the magic threads that run through the album, cementing its quality. There are no outlier tracks, no cast-offs reunited, no extra WIPs that have found a home: instead, the body of work is complete, perhaps a reflection of a single collection of moods and moments, but entirely in ownership of itself, and the listener who tunes into the message. Rarer still is the sense of cohesiveness to the album.
The resulting experience is unlike one we’ve had the fortune of listening to with any stable regularity: Wordcolour has built a world as instantly gratifying in quiet moments (‘ Duet‘, ‘ I am sixty years old and trying salvia for the first time‘) as it is in the breakneck shivers of “clubbier” tracks like ‘ Babble‘ that give us more than a passing reminiscence to ‘floor music played by the likes of Djrum. Merging moments of fractional sound with long, sustained notes together requires a more far-sighted vision than the composition of a single piece, and throughout the album it’s often that the music feels self-referential to other compositions in the collection. Opening with a single disembodied word, “ Loom”, ” The trees were buzzing…’ envelopes the listener into a world where relationships between entities and objects are displaced, with all present notions of sound offered as equal importance. After the release of a full-length release, ‘ The trees were buzzing, and the grass.‘, our working definition of the London-based producer had to change drastically. When we first heard Wordcolour‘s music released through Houndstooth, our ears picked up: here was a producer clearly as equally fascinated by sound and inter-sonic relationships that go far beyond simply making people dance - as adeptly as they were capable of doing so, on early EP ‘ Juno Way‘ and the subsequent ‘ Bluster‘ single.Įven still, what we had to hear of Wordcolour’s dancier tendencies - take ‘ Bluster‘, for example - took a generally sedate pace, allowing the moments of synchronicity and detail to shine forth.