I would think that establishing a label would be challenging at the start. When did you feel that you finally had gotten the rhythm of running the label?
It was hard starting out, we couldn’t do another record until we’d sold the last release which maybe wasn’t the easiest with some fairly niche music. I remember dropping off records for sale or return at record shops and not getting paid for them until more than a year after. A big turning point in the label was getting distribution with Cargo Records, where we could finally just curate the music and artwork and they have the links with the shops and organise the manufacturing. It makes running a label so much more fun and fluid when we could start focusing on the content way more.
Though it may be different for each piece, but could you tell us about your approach and process to making a sound piece?
I think it all depends on my mood— the fun part of writing music on a computer is being able to write whatever you want. Generally starting off I just decide what I’d like to listen to or what I might want to play in a set. I think another good way of writing is copying tracks you like. As much as it seems like cheating, you never end up with something exactly the same because you make different aesthetic decisions as you go along, and you often end up far away from the original idea, or at least learn something new during the process.
In your album, Cape Cira, released in 2020, the impression of ambient sound was even stronger than previous EPs. Was there anything in particular that you kept in mind when creating it as your first album?
With the album, I’d found a way of writing quite a lot of music quite quickly, I was massively influenced by Olof Dreijer’s Echoes from Mamori to the slight point of obsession and just wanted to make more music like that. It was only in hindsight that I realised I had a fairly cohesive sound to these tracks I’d written, and I think while coming up with a name I thought it’d be interesting if it was related to an imaginary place.