'QUARTER TO QUARTER' - AN INTERVIEW WITH THE NORTH QUARTER
Today marks the release of The North Quarter’s first compilation, a 15 track offering showcasing some of the talented artists that make up part of the TNQ family. We caught up with label head Lenzman and others to talk about music, the label, isolation and more. Press play below and have read through the feature :)
AN INTERVIEW WITH LENZMAN
Can you give us a quick introduction to TNQ as a label for those that might not know...
So I launched The North Quarter in August 2016 with my remix of Children of Zeus classic “Still Standing” and I collaborated with IAMDDB on the second release after that artists that I had admired such as Redeyes and FD began releasing and we haven’t looked back since. The label launched at a time where I had found out I was going to be a father and it made me fast forward my plans. I'd felt this urge for a while, looking for a new challenge in the music business – running my own imprint. It’s become a real collective now, with a group of artists with a similar musical tastes and views. It was always just meant as a platform that was open minded and inclusive. Not meant as strictly a Drum & Bass thing just good music, coming from the Soul.
How have things been going in lockdown? Tell us a bit about what's keeping you busy in these times.
I've had good days and bad days – I think it must be the same for everyone. After having such a manic schedule last year, I'm quite enjoying being home with my family a lot to be honest – usually I'm away a day or two every weekend. I'm just using my time and energy now to try and move things forward with the label more than usual, and trying to write some music. I have some remixes I'm doing that I'm excited about and also working on a couple of original projects. But it is quite odd not being able to play music that is essentially made for clubs in a club.
From drum and bass to hip-hop, we've enjoyed lots of killer music coming from the TNQ camp as well as yourself as a producer and DJ recently - can you tell us a little bit about what you've been working on recently? Have you been busy in the studio, recording mixes etc or has the compilation been your main focus?
So 2019 was really intense for me coming off the back or my Bobby LP my DJing schedule was through the roof. And with being a dad (my second daughter arrived in 2018) and running the label, there wasn’t as much time to make music as I would have liked... but the world has just stopped now, so I’m trying to make the most of my time to make some new music. I really enjoy pushing towards more ambitious projects now, so it just means not having music out all the time. It’s just something I enjoy more, focussing on a bigger project rather than singles – the downside is they just take a lot longer to complete. And as far as the label goes, I'm trying to ramp up the releases a bit. The compilation LP has taken up a bit of time of course, but there's a lot of great new music in production already.
Pulling together a compilation this ambitious and releasing in a time like this must be equally as challenging as it is rewarding. Can you tell us a bit about the challenges faced or how the processes involved with the compilation have differed to previous releases, especially while the world sits in lockdown.
I did really enjoy doing a compilation album, it was an important statement I wanted to make, kind of like a manifesto for the label. Back when I first got into Drum & Bass there were some iconic compilation LP's like Platinum Breakz, V Classics, Logical Progression, Prototype Years etc. so to me it feels like it's part of the culture. It was also a way to just do something as a collective piece. I didn't just want to do it to do it however and I wanted to wait to get the right balance of tracks, which is why it took a long time. For one you're dealing with about 15 different artists except for a single artist on a release and then it can be harder to convince people to part with some of their best tracks for a compilation rather than an artist specific release. It makes sense, but I guess people managed to see the greater good in it. and I'm really proud of the results. It was already done before shit hit the fan, so it's not been that challenging with regards to the lockdown. But from experience now I can see that things just aren't as quick as they are before, but it's pretty minor in the grand scheme of things. Everyone is dealing with the same situation, people have to get creative, work around the limitations, not having as many people in the same place, shipping being affected so stuff takes a bit longer, but it still gets done. I think everyone is quite understanding, the fans included. In fact they have been amazing. Much love to them.
Talk us a bit through the artists that currently make up the TNQ family…
Abnormal Sleepz - The link with Sleepz was established through videographer Faro who has done most of The NQ videos. Sleepz is part of this exciting new wave of Manchester excellence and an insanely talented creative. He produces, writes, raps, sings, DJs and was very involved in the production of the videos for his album. What really strikes me about his material is that it’s current stylistically, but you can hear it’s being made by an old soul. Sleepz’ words are so conversational, the lyrics very honest and open. Keep your eyes peeled because he will be going places without question.
Anile - This guy is the secret weapon - the stealth bomber. He really is one of the hottest producers in the scene for me. He will disappear and you won’t hear any new music for a while, but then he’ll return with something absolutely ridiculous. What’s amazing about him is he can make something really smooth and delicate and then hit you with the dirtiest tune. He’s got music that can fit into all kinds of sets. A real versatile producer that does everything on his own terms. He’s currently working on something really tasty for the label.
Dan Stezo - The NQ press secretary, really my day one friend who was my musical guru in the early days. We always connected through music and he introduced me to my first musical passion in school: Hip Hop. I then introduced him to Drum & Bass my second musical passion. I talk to him a lot about label related stuff, other than being my right hand man for so long, he often has very unexpected angles and ideas. Without him the label would definitely be less creative.
FD - The most deliberate man in the team. He has paid his dues in the London scene, and has firm principles no concessions which is something I really respect in him. His productions are always very detailed and give them a long shelf-life. He’s as versatile as anyone on the team. Last year he released his debut album “Better Days” and it was a real showcase of a natural journey through style. One of the guys that I had in mind when I was planning the label as he’s been doing great music for years but struggled to find an imprint that was the right fit for his music. He has a project with what I think is his best work just around the corner.
Fox - This Manchester OG is such a positive force. In any situation he uplifts the vibes and he’s a dominant presence in the club. He is one of the most underrated MCs in the UK club scene for me. He really gives it his everything. Not only is he a force to be reckoned with as a performer, but he is also a very accomplished recording artist on a range of styles. I’ve worked with him a lot in the last few years and he’s cemented himself in the camp.
Redeyes - This guy is the Toulouse OG, one of the first guys to put France on the map in the Drum & Bass scene. He’s a real soul man, I’m so jealous of his talent. Working with him is crazy because he will go through moments where he doesn’t feel any inspiration for a long time and then out of nowhere will just put together an album in a month or two. When it comes to musical tastes we probably connect the best. His hip hop is just amazing and he is a really kind spirit. I am so happy to be working with him.
Satl - Polish young gun Satl, for me, is the most talented producer to come through in the Drum & Bass scene in recent times. He has a work ethic like no one I know and just an endless source of inspiration and he’s going to outshine us all in the future.
Steo - What can I say, Steo is a North side Dubliner who I connected with through shared musical tastes. Like me he has his roots in Hip Hop. I think at this point he deserve his flowers because without his vocals Drum & Bass would be a lot less soulful than it is today. We’ve worked together over the years quite a few times and I just felt it was natural to try and involve him in the label. He’s also a really talented producer and hopefully one day he will have the time to finish a project.
Submorphics - Michigan-native Submorphics and I both came through on Spearhead around the same time. I think around 2006/2007. We connected over a mutual love of Soulful music and stayed linked ever since. I always felt Greg’s music was under-appreciated. He has this dusty, smoked-out take on the music that I love. It’s just got that rare-groove, Dilla-inspired soul that you don’t hear in a lot of contemporary music - it tends to be over produced and lacks that human feel. Music aside, Greg Submorphics is truly one of a kind.
Tokyo Prose - New Zealand native who brings an etherial beauty to the label. We linked in the early days and I’ve always been into his stuff. Although the circumstances of his first linking with The NQ for his album are extremely sad (some of the music was signed to Soul:R) I am glad that the music did see the light of day and very proud that we got to release the LP.
Zero T - Born in Dublin, but based in London, Zero T is a true veteran who’s been releasing music for 20 years now. I’m pretty sure we first met when I booked him for my old night Fever in my home town Leiden and we just stayed in touch since. He’s one of those guys that’s always been really good at all styles of Drum & Bass and all styles of music, something that also shines through in his versatile DJ sets. Just look at his EP with Unitsouled for a true multi genre project. You can tell he respects the craft and heritage of the music. He has his second project coming later this year and it’s another great and diverse collection of music.
Photo: Khroma Collective
Last year at Outlook Festival 2019, TNQ joined forces with 1985 to celebrate at the fort one final time. Was this the first time the two labels had showcased side-by-side? Can you tell us a little bit about the final throw-down for those that might not have been there...
It was a really special time for me and for the people of the label that made it there. Essentially just a group of friends hanging out having a great time, playing music that we really love on one of the best soundsystems in the world. 1985 was formed just before TNQ so I guess both labels are just from the same generation, both have an ethos with high quality control and have formed a collective of artists so it was a good fit. 1985 generally a bit heavier stylistically and TNQ a bit more on the soul / Hip Hop influenced side of things so we complimented each other nicely.
Regrettably Outlook Origins is unable to take place with the current Coronavirus situation; you were set to curate a line-up this year, can you tell us a bit about those artists and why these acts in particular were people you wanted to support and have party by your side in 2020?
Yeah it's a real shame, but this too shall pass and it'll be amazing once things are up and running again. The artists on my line-up were people that I felt showcased most of the spectrum of music that The North Quarter is about. It's influences and ambitions and I was hoping to take the audience on that journey with us. It wasn't just a varied spectrum in Drum & Bass with FD, Satl and myself, but I also wanted those Hip Hop and Soul music influences with Abnormal Sleepz and Children of Zeus. And obviously we had two of the best hosts in the business, Fox and DRS. But as I say, once this passes let's do it “again”!
Abnormal Sleepz
Tell us a bit about what you've been up to in isolation / how you've been passing the time
Whilst being in isolation i've been eating, cooking and baking a lot to be honest! Eating and playing PS4 keeps me happy however i've also been working on music from home. Mainly focused on production and engineering but it’s been tough. I recently put together a small compilation of old music that was never released or made the album. It’s been a good time to learn new recipes, skills and research. A chunk of my evening times also given to Netflix - I figured i've almost completed it haha!
Your album Kaleidoscope features collaborations with fellow Manchester artists DRS, HMD and Misha B - can you tell us a little bit about the influence Manchester has on the music you create and who else from MCR you'd love to work with / give props to?
The influence mainly comes from my people around me, life experiences within a small(ish) city like Manchester. The culture, music and competitiveness has always kept me on my toes too as a consumer and fan of a number of people. Being northern, having the accent and this little thing in you that's like 'I got something to prove' is something a lot of us have in common so it translates to the music in a way that makes it special. I'm keen to collaborate with the likes of Children of zeus which is way over due - they're who i kind of look up to in terms of journey and authenticity. I'd love to record a song with Pip Millett, although I have produced a song it would be nice to do something more geared toward her sound. Others to big up and to work with are Chunky, Voodoo Black, July7... the list goes on and continues to grow.
FD
Tell us a bit about what you've been up to in isolation / how you've been passing the time
A lot of music making to be honest; i've found it a really useful and nice distraction from everything that's been going on. There's been times when i haven't felt like it so much, but overall it's been quite a curative thing for me, so i'm really glad about that.
It was a family affair as you joined us in 2019 for the final edition at the fort with the TNQ x 1985 crews in attendance at the Void. Alongside that special moment, were there other stand-out moments from the festival/ killer sets you witnessed?
I have to say that that night on The Void was the absolute highlight for me. To have the chance to play on such an incredible system at such a prestigious festival was really such a great experience and one that i won't forget. For me, and it's always been like this, when it comes to running events, whether big or small, the sound is the absolutely most crucial factor. Obviously there's also many other factors that make a night or event something special, but i've always felt if you have the sound right, you're off on the right foot. Along with the sound of it, The Void is set up so that as a DJ, you can really do your job to the best of your ability, and you feel it instantly. That made me feel immediately comfortable and really be able get my mind into what i was doing, selecting etc. And then couple that with the fact that the place is instantly packed and everyone looks bang up for it - you really can't ask more as a DJ, and i loved it. To have my crew there backing me up too, and to have the chance to all vibe off one another, it was really a very special moment for me, and i hope for everyone else that was there.
We've been loving 'Your Touch', the track that features on this compilation - where was the track made? Can you tell us a little bit about your music-making process - is this primarily DAW lead? Sample based etc
Thanks a lot. That was made at my studio at home, as with most of my music. It was an older idea that hadn't got finished, but i came back to as i felt there was something there that i really liked. I'm predominantly sample based because a) that's how i was initially focused when i started learning and b) because a lot of the music the more modern music that i like is sample based and so that has inspired me. I feel that sample based music really has a particular feel and character to it, and there's really an art to working and twisting a sample and turning it into something of your own and with a new unique feel to it. In the last few years i've started to become more interested in synthesis and have learnt more and dug deeper into it. Tracks that are a hybrid of quality samples and interesting and unique sounding synth elements is really something that i'm enjoying trying to work on at the moment. I still work in a DAW for Drum & Bass and do feel that's quite an optimal way of working for the genre. Having said that, of course i see the benefits of changing working patterns and routines, and when making more house or techno kind of stuff, leaving the DAW until later on in the process can be a good approach. Maybe this will happen at some point for my Drum & Bass too?
Redeyes
Tell us a bit about what you've been up to in isolation / how you've been passing the time
I've been splitting my time between home schooling my 2 kids (8 and almost 10 years old) and writing music. I hadn't been writing any music for the last 6 months, so being stuck at home was the ideal time to write again, even if you can imagine its a bit weird to get inspired in these strange times. After the first couple of weeks of panic and stress due to the virus i found myself comfortable and safe with my family at home and i just felt inspired and began getting really productive.
We've just shared a killer set taken from last year's TNQ x 1985 takeover - tell us a bit about the night / a highlight for you at Outlook 2019
It was indeed a special night, I would even say a really special couple of days, as we started the day before with a NQ Boat Party. It was my first ever boat party and the vibe was just incredible. I played B2B with my good mates Lenzman and FD and Fox was hosting the show. Everything combined to create something unique, the view, the sun, the sea, friends, vibing crowd. So when we played at the Void, it just the next level up from that, it was the best sound system i have ever experienced. FD started the night with a killer set and the place was packed after 5min... so I felt pretty inspired while playing my set. I played a few more of rollers than I usually do but I was just enjoying this moment with all my friends from the North Quarter, 1985 and my Toulouse fam Outlines, and a couple of Gin drinks from the one and only Steven (NQ Label manager).
'Lust' has just been featured on the Quarter to Quarter compilation, alongside a handful of previous releases on TNQ. It feels like a very natural fit, can you tell us a bit about your creative process - do you create music with a feeling in mind or does the music form naturally during the production process?
I don't force my music making process anymore. If i get writers block I will just wait for it to pass until I'm feeling good about making beats again. I'm accepting being less productive so the music comes naturally during the times I feel inspired. When I'm working on a specific project, which is how I usually do things with North Quarter, I take a step back and try to think about a direction, a concept and then adjust my forthcoming tracks. If I'm in an inspired mood a.k.a. a good creative time, it really works.
Satl
Tell us a bit about what you've been up to in isolation / how you've been passing the time
I've been watching some movies, playing loads of video games, and obviously writing tons of music!
You've mentioned in previous interviews that the creative process flows fairly naturally when it comes to production. Has this time in isolation effected that process or the way you're approaching making music at the moment?
Yes indeed. I feel like during the isolation I'm in this endless creative mode. I can't remember a time when I wrote as much music in this small amount of time to be honest. I tried to explore some other genres as well and I'm pleased with the results of it too. Hopefully soon enough I will be able to share some of these.
How does this differ from your approach to DJing and can you give us five tracks that would be 'essentials' for a SATL set in 2020 so far?
It doesn't differ that much anymore, as recently my sets have been heavily packed with my own material anyway. Sometimes I'll just write a tune for certain event that I'm playing at so this is one thing that I'm not doing right now, but otherwise it's pretty much the same.
My top 5 for this moment would be:
1. Satl - So Much Better [Integral]
2. Submorphics feat Pola & Bryson - Albion Road [The North Quarter]
3. Satl - Just Thinkin' [The North Quarter]
4. Linda Diaz - Green Tea Ice Cream (Satl Remix) [Self Released]
5. Satl & Artificial Intelligence - Don't Rush [Integral]
Quarter to Quarter is out today! Head to Bandcamp for more details ^