We recently caught up with Leeds based producer Alfred, following his spectacular 20/20 debut ‘Direct Hit’.
So first off welcome to 20/20 Vision for your debut release on the label ‘Direct Hit’ - what were the key inspirations behind the record?
It’s truly an honour to be part of the legacy of such a well-established label. The two tracks on the B side (Iris and Core Velocity) were actually made first – during the summer of 2020 while we were all just coming out of lockdown. I had just released an EP on my own Reference Mark Recordings (RMR) label, I really enjoyed making it and how it turned out. I took some of the sounds from one of the tracks and tried to re-contextualise them. The title track came a bit later and was the product of me creating a new heavy reese bass and 303-like acid sound. I most definitely will have been re-listening to Reese - Just Want Another Chance while making it.
And tell us a little background on how you connected with the 20/20 Vision…
Our first contact was through inner city electronic 2020 where I was playing at The Old Red Bus Station (ORBS) in collaboration with BBC introducing West Yorkshire. It was such an amazing day festival and I remember bumping into Ralph on the walk home from Wire! After that I was contacted by Ben from the label to let know they were really digging my latest release and asked whether I had anything similar that could fit the label.
The record has indeed been a Direct Hit with a repress ordered even before the record’s been officially released - how much does it mean to you to know people out there are appreciating your music after so long being largely isolated over the pandemic?
I’m so blown away by the continued support for my music; it inspires me to keep creating. Discovering new records over the pandemic was a godsend for me and I think that’s the same for a lot of people. I’m so relieved that we can go out to clubs again and reconnect with like-minded people through great music.
It sounds like you’ve grown up around music with your father playing in a reggae band and mum singing gospel. What early memories do you have of hearing music at home and how do you feel your parents shaped your early musical landscape?
I remember hearing Kirk Franklin and his choir a lot in the car on the way to church. I never really connected with what they were singing about but I loved the instrumentation. It was always so tight and slick but so emotive – I could have listened to it without any vocals! Then there were the Caribbean birthday parties we’d sometimes host which inevitably involved my uncles playing classic reggae and dub. I think my grandad on my mum’s side had quite a big influence on my musical taste as well; he was a jazz and blues pianist and would always have a Steely Dan album on in the car.
When did you start making music yourself and which bands influenced you in the early days?
I’ve been producing electronic music since I was 16/17; around the same time, I began an A level in Music Technology at sixth form college. I got a copy of Reason and just spent hours after college making my own synths and sounds. At college I must admit I was listening to quite mainstream dance music – artists like MK and Disclosure. However, I did have quite a broad taste as I fondly remember buying albums from some lesser-known indie bands like Alt-J and Darwin Deez.
What sounds first attracted you to electronic music?
It was probably the bass/sub in clubs with good sound systems. There’s something about feeling a sub in your chest that is like nothing else. There was a lot of high pitched/screechy dubstep floating around when was growing up and going out, but it was the deeper bass heavy tracks that always grabbed my attention the most. I did also love a 2-steppy feel good garage track - Colours - Hold On (SE22 Mix) is a good example.
You’ve recently relocated to Birmingham but you were based in Leeds for many years, how important was the city for your musical development and sound?
I still regard Leeds as my musical home. The city has such a rich history, and I was very lucky to be able to experience a small part of that. I think the close-knit and welcoming nature of the underground music community in Leeds is unlike any other city. I’ve made some really good friends who are all pushing the scene forward – Tañ, Adam Pits and Skins spring to mind. I also think the fact that Leeds has a lot of resident DJs is unique and something other cities should try to emulate. The local talent is unparalleled in my opinion.
Were there any clubs in the city you particularly enjoyed visiting?
Old Red Bus Station (ORBS) and Wire were the two I enjoyed most. ORBS was known more for its faster, bass heavy music, and I managed to put on several intimate parties there. Wire is probably my favourite club in the world. The low ceiling, the smaller capacity, the fact it’s a dark basement… it just epitomises underground club music for me.
‘Direct Hit’ features a killer remix from Dublin based producer Cignol. Which other current artists would you let lose to remix your music and who would be on your all time bucket list?
That’s a great question. I’ve really enjoyed Kosh’s output over the last few years and think he would do a wicked job of a remix. Also Adam Pits, he has such a distinctive sound and it would be interesting to see how he would put his imprint on my stems. All time bucket list would have to be Joy O and Carl Finlow. I’ve been following Joy O for a very long time and absolutely love everything he produces. Carl Finlow is a legend in the electro scene and you just know you would be in safe hands if he was to be on remix duties.
Talk us through your production process, what are the tools of your trade?
I’m currently exclusively using Reason. I’ve had a go with other DAWs but Reason has always been the most fun to make music with. I specifically like the fact that you can virtually route cables to and from devices like in modular synthesis. It adds to the experimental and serendipitous nature of music making and I think that’s essential for me. Since I have some musical training, I usually play melodies, chords and basslines in with a 49 Key MIDI keyboard. I also have a Novation Launch Control XL which I use to jam out ideas and record automation. I’m looking to add the MIDI Fighter Twister to my collection of controllers so I can have even more instantaneous control of all automatable parameters. I’ve found that I don’t need any hardware instruments or effects to get a unique and interesting sound. Maybe that will change in the future but I’m happy right now.
You’re come from being a resident DJ first and foremost but would you like to perform your own music live as well?
I’d love to be able to perform live sets and I’ve been working on this over the last year. Reason isn’t known for being very live set friendly but I’ve managed to put together a template to be able to switch between sounds and melodies in the DAW. It definitely needs some more fine tuning but I’m looking forward to being able to test it out in the future.
Behind the scenes you’ve also been working away on a Chemistry PhD, perhaps following in the footsteps of a rather well-known scientist musician – Floating Points. Does music act as a release from all the hours spent in the lab and do you feel you can enjoy it more being a part time pursuit?
Those are some big footsteps to be following! Music making can act as a counterbalance to the PhD sometimes. Being on your feet all day and working with dangerous chemicals can be stressful at times. Science is usually black and white whereas music allows me to explore my creative side – there’s no right or wrong way to do it and as long as you’re expressing yourself then that’s all that matters.
Will you have time to follow up the Direct Hit EP in 2022 and if so, which musical directions are inspiring you most right now?
I’ve been working on a follow up EP to Direct Hit but I’ve found it difficult to get tracks finished with my PhD coming to a close at the end of November. I’ve been writing my thesis and settling into my new place in Birmingham over the last few months and so haven’t had much spare time. I’m hoping to have an EP finished before the first half of 2022 but we’ll have to see. I’d prefer not to rush things and only release a project when I’m completely happy with it. I have been listening to a lot of 4x4 house and garage recently so that may inspire me to go in that direction.