Artist in Focus: nomi – Stab City EP (#SPK006)

Sam Kyle or Nomi as he is known on the musical circuits has been producing in the shadows for the past 5 years but only recently has his sounds come into focus. He’s provided us with two great tracks from his recent conjuring’s and put together a nasty EP for us. Pts 1, 2, 3 and 4 are all serious business so be sure to get on the download! [link] His dark techno styles have been getting a lot of attention from YouTube channels and blogs alike, so we caught up with the man behind the beats to find out what got him to where he is today.

stabcityartwork

Spectrum: So Sam, thanks for speaking to us musically for a bit! Off the bat; what were your original musical influences?

Sam: I don’t come from an electronic background at all really, aside from listening to the odd producer, mostly Aphex Twin. My favourite bands for a good while have been Neutral Milk Hotel and Thrice. But I always loved bands that could cross over between acoustical and electronic music, bands like The Receiving End Of Sirens or Underoath or Sky Eats Airplane that would just break into electronics all of a sudden really excited me.

Spectrum: Aaaaah so interestingly, it wasn’t originally electronic sounds that got you into this. What would you say sparked your own electronic musical interests?

Sam: I started making electronic music pretty much because I couldn’t be bothered starting a band and having to deal with other people and their schedules, etc. So I figured it’d be easier for me to make music by myself. I downloaded Reason (totally legally, honestly) when I was maybe 14 and started making some pretty scary glitch shit that no one in their right mind would listen to. It got me a lot more into electronic sounds, I remember the first time I heard dubstep on some decent speakers and just being like ‘woah, I gotta get in on this shit’.

Before that I made a load of guitar based music using a loop pedal and recording on my phone. Back in the myspace days.

Spectrum: For most people it is the first time they hear electronic music in a live / loud environment that it fully clicks what it is all about. All part of the learning curve though, after the glitch-hop-step did you move right into dubstep?  Do you still incorporate your acoustic influences?

Sam: I started making dubstep by accident, or at least half step / 2 step / sub bass kinda stuff and then after listening to more dubstep and realising what it was all about clocked that I was just producing dubstep. A little before then I was making some kind of IDM influenced shit that would just build, a new part appearing every 8 bars or so until there was just a cacophony of crazy noises that didn’t really fit together all at once.

I try and incorporate acoustic elements when I can, I’ve recorded a few guitar parts for tunes and the real drums in some of my tunes is me but I’m really into sound design and seeing how far I can push sounds from what they originally were so the acoustic elements often get pushed to the side a bit. I definitely take a lot of influence from non-electronic music in my production though. I think Stab City Pt. 1 kinda shows that as it’s supposed to sound like a group of percussionists playing as opposed to a programmed beat.

Spectrum: That’s a really interesting way of looking at it, the power of computers when it comes to creating, editing and morphing music is proving to be nearly unending. Currently, who would you say your favourite producer is and why?

Sam: Currently I’d have to go for either Milanese or BT. Those guys know how to glitch and manipulate sound in some neeeeeext ways. While I don’t think production value is the most important thing and it’s certainly no alternative to pure vibes, the level of production from these guys is just insane. I would probably swap one of my lesser used fingers to sit in on one of them producing for a couple days. I love them both for totally different reasons though, Milanese makes this dark, gritty glitchy stuff (check out Dead Man Walking) while BT can throw these beautiful melodies and textures onto the glitch backdrop so to speak (check out 1.618).

And YES, fuck everyone who says all electronic music sounds the same. It’s limitless, it isn’t held down to guitar, bass, drums vocals. It can literally be any sound twisted into any other sound that you wouldn’t have even thought existed before.

Spectrum: That’s actually two artists I haven’t really explored yet, so I’m excited to have a listen to those two pieces. I can certainly hear the elements of chaos in your pieces, in the best way of course. Some of the best made music in the world was made with no rhyme or reason, it works simply because it does. And I could not agree more, I personally feel there is more variation in electronic music than any other, with the possibilities for sounds actually being endless rather than confined to instruments.

An argument I like to put forward is that with post production and all of the mastering that goes into even the most ‘acoustic’ album nowadays, all music is electronic music. Moving back towards your own music now a little, how would you describe the 2, or should I say 4, tracks we have up for download?

Sam: In terms of genre, somewhere between garage and techno and whatever else. In terms of feel they’re pretty dark, kinda industrial sorta stuff I guess. I really love tunes that are getting to the end and it’s been awesome all the way through and then all of a sudden there’s a curveball and the song is somewhere totally different. A band called Forgive Durden are awesome at this, they have a track called ‘For A Dreamer, Night Is The Only Time Of Day’ or at least something close to that and twice it changes into something totally different from the rest of the tune and it’s something that really stuck with me. I guess I’ve tried to mirror that sort of feeling of a journey as opposed to a static piece that pretty much just loops. Not that there’s anything wrong with that in any way. It’s just nice to come from a different angle. It’s music for dark spaces.

Spectrum: “Music for dark spaces” is certainly something we can agree on, I don’t think any sounds that needs an aesthetic aid to fulfil the user can be doing their job properly.

Well thanks for catching up with us mate, is there anything forthcoming from yourself in the future you’d like to mention?

Sam: I have a few tunes coming out on LFS X, the Life Force Sound compilation which is really worth checking out when it drops (Septemberish most probably). Huge range of awesome tunes on there from grime beats to proper chilled shit. I’m also releasing a couple of tunes on Files Rec. (including Dark Sister, for those who’ve been asking…). Definitely look them up, big label and some reeeeaaaally big tunes coming, trust me.

Thanks for having me, shouts to deccocco, kalli, benni and all the lfs heads, Loïc and all the files boys, the library UK boys and all my mates for putting up with my tunes on repeat while I’m making them. and of course spectrum.

Get your dual-freebie from our Soundcloud page, here:

Part 1 & 2;

Part 3 & 4;

Nomi;
Facebook – https://www.facebook.com/nomimcr

Written by Michael Thomas

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