When my friends and I were out, I'd always be the guy filming random s*** on my phone so that when I woke up all hungover, I had some funny souvenirs of the evening to scroll through. At the beginning, I would just pull sounds from videos on my phone and random things from nights out and stuff like that. The thing that I kind of fell in love with is the feeling of making records that feel like a collaborative diary. Can you walk me through how you find them and your process for actually incorporating them into your songs? I know that your music samples from "real life" - whether its voice memos, clips from social media, etc. but regardless of whether it's positive or negative, there was an undeniably powerful sense of just like, if I call my friends in America and if I call my friends in Japan, there's just this sense of synchrony. I did this mini mix for the beloved Annie Mac, and I remember being really struck by this feeling of global synchronicity in a way that was really unprecedented. I live with my best friend who is also a musician called Joy Anonymous, and we just spent most of our days in the flat making music and going for walks around a beautifully empty London. In a time of isolation, what inspired you to continue making music often meant to be played in-person at clubs, rather than be discouraged? I'm just trying to express something that's in here as opposed to trying to combine my music with somebody else's. Everything I make to varying degrees is still very collaborative. When Brian messaged me being like, "All right, enough," I was kind of on the edge of doing my own thing already, and he just pushed me over. You've gotta go back to doing what you were doing when we met." From when I was 10 to 20, I was making my own s***. By some beautiful serendipity, at the same time, my mentor Brian Eno messaged me being like, "All right, Fred, enough. That feeling doesn't get smaller if you ignore it, so that kind of bubbled up and up. What did producing for other people teach you about how you wanted to approach music as a solo artist?įred Again.: There was a moment four years ago, when I was in the midst of working with a bunch of other people, and I had this really strong feeling that I needed to make something that I wasn't making. Teresa Xie: Before releasing "Kyle (i found you)" in 2019, you spent much of your career producing for a wide range of big-name artists. At the core of Gibson's music lies the question: what happens when a search for escapism and real life meet? The result is a collage of digitally documented memories, as Gibson wholeheartedly embraces misconceptions and judgments about how easy it is for people to make electronic music, by turning mundane sounds into musical material. Actual Life 3 (January 1 - September 9 2022), the final installment of Gibson's Actual Life series released in October, is no different. It ends in a message of hope - acting as a rallying cry for the present's shortcomings and the future's untapped potential.īy using these clips, Gibson gave voice to a feeling people craved more than anything else: human connection. Gibson's hit, "Marea (we've lost dancing)," from Actual Life (April 14 - December 17 2020), deconstructs a monologue from the DJ The Blessed Madonna, where she mourns the pandemic's impact on the dance music industry. The 29-year-old British hitmaker released the first album off his Actual Life trilogy, Actual Life (April 14 - December 17 2020), in April 2021, and found success in creating hard-hitting dance tracks that sample from everyday moments - ranging from self-shot videos to voice memos from friends and clips found scrolling through Instagram. creates hard-hitting dance tracks that sample from everyday moments - ranging from self-shot videos to voice memos from friends.Īlthough electronic songwriter and producer Fred again., born Fred Gibson, has long-produced for a range of big-name artists, from Stormzy to Ed Sheeran to FKA twigs, his solo career blew up at a time when club music was at its least popular: during the pandemic.
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