Jon & Tom are the core comprising GLXY. What started as a conversation about their infectious new release ‘Small Talk/Trinity’ escalated rapidly into a small-yet-major discussion about liquid funk. Then spiralled back to that release of theirs. Quite a trip.
Hi GLXY. First off, I note you’re Liquid Funk people?
Jon: I’ve got a love for all D&B really, but identify with liquid more than everything else due to growing up in a Jazz loving household. Now that I’m back around the London area I try and hit up Fabric and Plan B nights wherever possible.
The Innersoul crew in particular have been smashing it with their recent nights in Brixton.
Tom: Liquid funk is a beautiful genre – takes everything good about Jazz, Soul and Funk and fuses it with the vibes of drum and bass. I love the fact that it can provide a summery banger or a moody roller for the dance floor.
In Leicester, the D&B scene is quite small at the moment, meaning I have had to head to Nottingham for a class D&B line up like Detonate. However, nights like Overground Sessions – check em out – are attempting to rectify this, and we’re lucky to have a residency there.
Who are stars in the genre you dig? I’m thinking people like Makoto, Random Movement, Logistics, Commix, Alix Perez, Blu Mar Ten would be up your street…
Tom: Back when I was at secondary school, the sounds of High Contrast and Danny Byrd were addictive.
Then the early Netsky came along and I was hooked. Obviously all those names you mentioned are massive inspirations to us, but Calibre has to be up there. If your tunes roll as well as Calibre’s do, you know you’re on to something.
Jon: Yeah largely agree with Tom, my first D&B vinyl was High Contrast’s High Society. I still spin it where I can to this day! Calibre is a bit of a hero of mine: he’s not only an amazing producer but also an amazing musician.
You mentioned Alix Perez: ‘Forsaken’ is one of my all-time top 5 D&B tracks I’d say.
Imagine my excitement when Calibre dropped the remix! Can’t really talk liquid without mentioning the Dutch maestro Lenzman. He’s created some of the best D&B I’ve ever heard.
One guy who I always come back to as well is Mutt: ‘Conversations’ is right up there as well as one of the best liquid tracks. I could talk all day about the genre.
Your new release is nigh. Tell us about ‘Trinity’? That’s a wicked tune, and very deftly done.
This releases attempts to fuse the love for liquid sounds with a more gritty dancefloor flavour – the best of both worlds? ‘Trinity’ came about very quickly; once the drums were laid down and the bass progression formed, it acted as a really nice platform to develop the liquid elements to the track.
And ‘Small Talk’?
Tom: ‘Small Talk’ was one of the first tunes we made together, started off before heading to DJ at a student house night believe it or not. It’s been through many versions now and this final version epitomises our sound.
Jon: Yeah it was a real labour of love: we must have done around five different versions of the track but they all had that some core vibe. It was also a period where we couldn’t stop using Rhodes on every track.
It suits the vocal well though and we’re happy with how it turned out.
Some lovely GLXY artwork I see, who’s responsible?
Tom: Big up Jack at Soulvent.
Jon: Also my mate Luke from back home has done some handy vector logos for us as well!
When I listen to your music I get a palpable intention to get it played out live, is that the case? That it’s MADE to be played out.
Tom: Partly, I think it’s just a by-product of the sound we’re going for: it’s not made on purpose to be played out but if you fuse liquid with darker sounds of D&B with a nice vocal sample, it’s going to sound good on a system.
Jon: Much like Tom said, we just make music we like. It’s every aspiring producers dream to have their music played to a crowd though.
What tune is in your respective heads right now?
Tom: JME ‘Man Don’t Care’
Jon: Yup, it’s actually one of the best grime tunes I’ve heard in a long time.
What’s some tips or chat you would have about production? Someone once told me they got more from great soundproofing as much as from good speakers…
Tom: CRISP DRUMS. If your drums are on point, it’s going to help the vibe of the track massively. I also find it very helpful to produce many other genres for fun. Learning techniques used to make really good techno or house can be transferred across to D&B and gives you a distinct sound.
Jon: Drums are key, the kick and snare are the backbone of the track.
The main thing for me though – and Tom alluded to it – is listening to/producing other genres of music.
You wouldn’t believe where some of our samples have come from.
What’s a D&B album that you really love, that’s really, literally timeless?
Tom: Camo & Krooked Above and Beyond, released on Mainframe a while ago now. That album has some absolute bangers on it.
Jon: I mentioned it earlier, but High Society, probably for sentimental reasons!
I think Crash, Bang, Wallop is an all-time classic as well.
What GLXY forthcomings you got, and what shouts?
We’re hoping to release with Soulvent Records again in the future: a fantastic label with fantastic artists pushing a fantastic sound. Big up the whole crew there.
There’s some four track EPs coming out on Liquid Tones soon and also on Limitless Recordings, Terabyte, and a local label called MAW.
Shout out to Jack, Harry and the Soulvent Records fam, Paul at Liquid Tones, Rob at Ledge Sounds, Matthias at Limitless, MAW crew and Leicester Bass & DJ Society.
