Hospital’s latest addition, the insanely talented Reso, has just released his first LP on the imprint: Ricochet, and by gosh it’s a good’un. With 12 intricately produced tracks, it’s truly a journey from start to finish. The LP strikes a perfect balance between light and dark, with intoxicating drum patterns and a refreshing combination of breathtaking ambience interwoven with screw-face inducing war riddims. The throwbacks to jungle are apparent throughout, as is his finite attention to detail. We caught up with the man himself to chat about the album and more, but first, check the LP mini mix to hear what we’re on about…
Big up Reso! Cheers for joining us! Your debut LP on Hospital Records, Ricochet, has just been released. What a journey from start to finish! Absolute pleasure to listen to! Has the project been a long time coming?
Thanks a lot! It was actually quite a quick turn around. I was making some tracks, basically another EP and the Hospital guys said “why don’t you make an album?” So it was a head down, arse up scenario where I just cranked out as many tracks as I could. All in all it probably took about a year from start to finish, which when you consider Tangram took me 3 years, is properly quick for me.
It’s been 3 years since the release of your debut album Tangram – how do you feel your production style has progressed since then?
I think my mix-downs have improved and my sound design, but fundamentally I still have the same process. It’s still the same style of production but only on a bigger scale really. I’m still learning though. Right now I’m just trying to get better at writing music rather than inventing new production tricks. For me I find it’s more musically interesting pieces that stand the test of time, rather than something that has incredible production but is fairly bland melodically. I guess the holy grail is a perfect combination of the two. One day I’ll get there.
You are there if you ask me! 😉 Did you have a concept in mind when approaching this album?
Not really, just make the best music I could. I had a sort of concept for Tangram. Mainly I wanted the seamless transitions and it to have 3 acts so to speak. This time I just made tracks and had the Hospital A&R team helping me to shape it. It’s more of a classic way to make an album really; make music, then decide on the track-list and running order at the end.
What strikes me most about this album is the absolutely perfect balance between light and dark. From the ambient vibe and almost hypnotic drum patterns in ‘Aqueous’ and ‘Echo Loss’, to the beast that is ‘Move It’ and ‘The Blob’.. Do you find it’s important to strike that balance between the more ambient material and the heavier stuff in an album format?
Definitely. Now don’t get me wrong, I can happily listen to albums that are fully aggro and heavy the whole way through but for me as a producer I just can’t make heavy stuff all the time and vice versa. The important thing is finding the right running order if you’re going to strive for a mix of the two. Too much mellow stuff and people switch off, too much heavy stuff and you alienate other kinds of people. I wanted each of the tracks to work as a separate entity on it’s own as well as be part of a bigger whole. To be honest I probably shoot myself in the foot a little bit by not just making one style, it makes it easier for people to put you in a bracket but fuck that, the best music should be a bit challenging. I’m not making pop records. I like it that people are a bit confused by what i make. Is it neuro? Is it jump up? Is it liquid? It’s just music.
Great music at that. Love the album artwork! Who was behind that concept?
That’s all the work of Hana Makovcova. She’s an amazing photographer. It’s was one of her images and I liked the simplicity of it. I usually go for quite abstract, techy imagery but I think this really worked.
Albums seem to allow for more experimental material that might not otherwise be released as a single, or part of an EP… Is that the main benefit of the album format for you?
I always try and throw an abstract track on EP’s too. But yes, it’s great to get them on an LP. I like that there’s a bit more room to manoeuvre on an LP so you can throw those curveballs in there. It’s important to me, one thing I don’t want to be is a one trick pony so those kind of tracks allow you some freedom to push around at the edges of what you’d expect to hear, especially on a D&B album.
Are there any tracks on the album you’re particularly proud of which you wouldn’t have released on their own but work well on the album?
‘Aqueous’ and ‘Happy Travels’ for sure. I love making tunes like those. They’re basically my modern interpretation of all the old stoner instrumental hiphop/triphop that I listened to back in the day.
There’s a real old-school jungle vibe sprinkled throughout it, especially on tracks like ‘Taiga’, what’s your relationship with classic, formative jungle records – did they play a big part in influencing your sound?
I guess that comes from the ridiculous amount of drum edits. Of course jungle was a massive, massive influence. I was too young when jungle was around first time, I didn’t really get into D&B until about 2001 but I dug back to listen to classic albums like Modus Operandi, Timeless, Colours, New forms etc. I love the simplicity yet at the same time deep complexity of a lot of those tunes. They had space and texture but loads of weight. A lot of influence also came from more modern drumfunk guys like Paradox, Fanu, Equinox etc as well. Anything with a lot of attention to the drums floats my boat in a big way.
You signed exclusively to Hospital last year – Do you remember where you were when you first heard the news?
I think I was in the pub.
Haha, already celebrating? Must’ve been an incredibly surreal moment…
I was very pissed so everything was quite surreal. It was amazing though.
Did you feel the pressure releasing your first LP on the imprint?
Not really, because I had such an open dialogue with the Hospital team the whole way I felt confident. It wasn’t like I just delivered an album and they said “this is bollocks, do it again”, that would’ve been awful. Obviously there was a kind of pressure in terms of releasing an album that hopefully can stand next to some of the other amazing things they’ve released but mainly I felt fairly chilled out about it as they liked the music I was making. When the label you send music to likes it, it’s a great feeling.
Seems like a real family vibe at the label. Was cool to see everyone together having a great time at the Hospital Porter launch, does that kind of support allow for a more creative environment?
It was a right laugh! I think more labels should do beer launches. It’s a guaranteed success really. It’s just really nice to work with such a cool team of people, i’m not really sure it makes me more creative, but there’s definitely jokes to be had.
You’re renowned for your flawless drum patterns – I found myself engrossed in this album for that reason. Seriously impressive mate. For those who aren’t aware, what is your background with drums? Were you professionally trained?
I’ve played drums for over 20 years, I’m by no means the best but I can hold my own on a kit. It was the first thing I ever did musically and i’m basically self taught. I had about 3 years of lessons to begin with but mainly I just taught myself by playing along to records and pissing my neighbours off. I don’t really get to play very much anymore just because there’s no space for a drum kit in my flat. I have an electronic kit which is good, but it’s not the same as battering the fuck out of a real kit.
I can imagine! Do you drum on your own tracks?
I have put some of my own drum breaks in tunes before but mainly because of recording limitations I just program in XLN Addictive Drums for when I want a live sound. Or chop up a break, I love chopping those breaks.
‘Coming back to you’ – Is that a cheeky sample from Ashanti ‘Foolish’ I hear? 😉
Hahaha! Originally it was the Ashanti vocal but I got it re-recorded and changed the melody & words. Big shout to Terri Pace, Dan Nu:Tone and Tony for helping me out there!
Is sampling a big part of your production process? If so, are you always on the look out for potential samples? I had a friend who used to get excited by the most obscure sounds like dropping a set of keys, slamming a door, etc etc.. Is it the same for you?
I never really sample riffs or hooks. Sometimes I’ll sample a nice rhodes chord or lush texture. Mainly the samples I use are drum breaks obviously and weird little one hit sounds. I do like a bit of foley recording though, it can add some really unusual elements that just aren’t possible on a synth. Whenever I use them they always get mashed beyond recognition but they’re a great place to start when you want to get into a bit of strange sound design.
What’s the most obscure sample you’ve ever used?
Once at uni, some friends and I were making a tune. Then all of a sudden there was this sound like a banshee getting it’s skin torn off. Turned out my flat mate was having a bit of sexy time. Even with the door shut it was soooo loud. We just held a mic up in the room and recorded it then stuck it in the tune. Needless to say we never played it to her…
Ha! Can’t imagine why… 😉 Back to it: Coming from a background in dubstep, do you still experiment with the genre (and others) in your spare time or does d&b take up all your time these days?
I had an idea for a dubstep tune the other day so I might have a crack at making it. But yeah, mainly it’s D&B all the time at the moment. It takes me so long to make stuff that I haven’t really got time to do much else.
Artists/ tracks that are blowing your mind at the minute?
Absolutely love what Ivy Lab are doing. 20/20 EP is off the hook. Hugh Hardie sent me some bits that are smooth as all hell. Really love the stuff that Blu Mar Ten release on their label too. It’s all so bloody good. Hyroglifics is another one who always makes such sick tunes. I dunno, there’s loads of people. D&B is strong right now!
That it is! So, where to next? I’d imagine finishing a project like this is a massive weight off your shoulders!
Hahaha you’d think so. I’ve got a couple of remixes to do, plus some other projects. And there’s always the never ending task of just making more new music. Plenty enough for the moment.
Final shouts?
Big shout to my long suffering girlfriend Hayley who puts up with me. Love ya! Also Matt & Mark at Civil and the Hospital team who’ve done a cracking job on Ricochet.
As have you, sir. Big up!
Ricochet is out now. Get it from The Hospital Shop, iTunes and Google Play.
Follow Reso on Facebook / Twitter / SoundCloud