We have a special Translation Sound guest mix from Deep Logic EP maestro Cid Poitier to close out the month of May, check out the recap and our interview with him to learn more about his influences and the shape of things to come.
Take us through your musical journey – what led you to start producing and are there any formative moments or experiences over the years that have shaped your approach?
It’s a long musical journey, how long have you got!?
It’s difficult to summarise, but in general one genre is often my gateway to discovering new and emerging styles. My foundation, for lack of a better term is music of Black origin. It’s my culture and it’s what I’ve grown up listening to, from 90’s R&B to Neo-Soul, Hip Hop through to Ragga, Soul, Jazz, Soca and beyond. Genres that reference these, regardless of how subtly, tends to grab my attention on some level.
I started producing partly due to friends constantly encouraging me to do so, knowing just how much I love music, partying, curating playlists and DJ’ing. The turning point came on my first visit to the Outlook Festival in 2010 which very much changed the course of my life – from that moment onwards, I knew I needed to contribute something to the scene so committed to buying a pair of studio monitors the moment I returned home, and the rest is history.
Deep Logic EP delvers further into your sound, including ‘Rebel’ in 140 BPM. Has writing in a lower tempo carried over into your more recent 170 BPM excursions?
I would say if anything it’s the opposite. Although I began by releasing 170bpm music, I have been a dubstepper for nearly a decade and this is what has influenced my faster productions (a lot of my tracks have dubstep influenced oscillation for example). Before hearing dubstep, I had stopped listening to drum & bass for a long time, as I felt it had kind of lost its way. Dubstep for me felt like the catalyst that woke up the drum & bass (& electronic music) world, and ultimately sparked a new lease of creativity @ 170bpm which gave rise to new innovations like Autonomic and Half Step. When I first heard these new interpretations, what struck me the most was the creative use of the underlying kick pattern and weight borrowed from Jamaican ragga & dancehall.
Is there a track on Deep Logic EP that you’re especially proud of?
I really like Kill Sound & Deep Logic as they were both my personal “pain projects” – meaning they took FOREVER to finish (2 and 3 years respectively!) The Hear Dis remix has to get a special mention, as it was such an honour to have The Untouchables bless this track with their blend of dubbed out goodness. Felt like they really took it to a whole new level.
How often are you in the studio and are there any particular rituals you maintain that help you stay focused?
If I am not travelling, I’m in the studio every day. Sometimes for 12 minutes, sometimes 12 hours.
I have some strange rituals, and some common sense ones.
Main rituals are:
- 1) Turn up every day, ESPECIALLY if I don’t feel like it.
- 2) Leave phone in another room (vital for any creative endeavour that requires a flow state).
- 3) Listen to each finished track from start to finish a minimal of 100 times. If it still sounds fresh after 100 listens and makes me wanna boogie, it’s a candidate to be released.
What inspired you to start your own imprint, Sub:Clef, and what is your vision for it now that the first release is hitting shops?
Sub:Clef was started as a platform to release my slower tempo music and to curate and shape a unique blend of genres that I have not quite heard anywhere before with this particular aesthetic. A big part of it is also about investing in what I believe in. As a completely unknown label and unknown artist at this tempo (140bpm), it’s pretty much commercial suicide to release a 12” in this day and age without an established fan base – but being the rebel that I am (that’s where the track title comes from btw) I was willing to look business and common sense dead in the eye, turn my back and follow the rose tinted path of the romantic, passionate (and soon to be starving) artist instead!
Naturally, I would love to see some of my future slower creations released on some of my favourite experimental/dubstep labels, but the reality is that I simply cannot expect someone to invest in me, if I’m not willing to invest in myself first.
What’s it like to be a part of the Noise Test (UK) series of events, any memorable moments you could share?
That’s a good question. Noise is, and always has been a bunch of friends having a party. Milena who runs noise is very much a central hub that connects many different friendships centred around the music. We’ve had a lot of very fun times over the years. There have been many memorable moments, but one that jumps out at me was one of the regular Noise nights upstairs in Dogstar (Brixton). I remember being in the crowd before playing, and looking out at a full dancefloor and almost every face I saw was that of someone I knew personally. That’s how tight knit Noise was as a movement.
This is probably an opportune time to give a plug….next Noise test is on the 23rd June 2017 in Bristol, with Paragon, War, Genotype + many more….get yourself down there for some genuine good times and cutting edge music!
Parting words or shout outs?
Massive shout out to the professionals behind the scenes who really bring everything together and make me look like I know what I’m doing.
Olaf over a Signalfire, Za at White Peach, Jason at Transition, Clint Norwood, Yeti & The Zoo Keeper in the quality control department and of course Translation Recordings for their unwavering support.