Brixton-based Dean Bryce, aka PhOtOmachine, is one to keep an eye on. With his recent ‘Technicolour’ EP out now on Super Records, PhOtOmachine defines the excitement and buzz that surrounds the London bass music scene at the moment. Mashing grime sounds with techno textures, UK funky rhythms with garage chops, he brings all these elements together with a delicacy that marks him out as a truly innovative artist.

He’s also a fantastic DJ, and certainly knows his way around a pair of decks. He’s playing in support of Lil Silva and XXXY this Friday at CAMP; it’s a great chance to catch one of London’s hottest producers live in the mix.

Your ‘Technicolour’ EP is very accomplished indeed. How long did it take to write?

Thanks. It was pretty quick actually. I did the bulk of it in a day and then spent a little bit more time adding record samples and arranging later.

Technicolour EP by PhOtOmachine

How did you get involved with Super records?  

That was through Twitter but we also had a few friends in common too. We were talking about doing something for a while so I made ‘Technicolour’ as a B-side and it became the lead cut.

I like the way Super is evolving too. It’s great to be involved with such a forward-thinking label from the early releases.

What’s the process involved in the way you make music? Do you approach a new track with a concept in mind or is it a case of seeing how each track naturally evolves?

I usually start with the mood and build up from there. With the music I do, drum programming and drum machine choice depict everything. Be it jackin’, moody, skippy or whatever. That defines the vibe so I begin there and take it on a journey.
 

Do you ever make music that’s not intended for the dancefloor?

Of course, I’ll hopefully get a few of those out on the next releases. They’ll probably be more like interludes rather than full-length tunes.

What does your production set-up look like? Got any favourite pieces of kit?

I actually lost an eBay auction last night which was unfortunate because I’m always looking for specific machines. I want the machines to do a job so it’s not a sentimental thing. Kit-wise I’m a fan of early ’80s Roland equipment and also weird things like the internal iPhone microphone for field recording.

Too many people waste time debating about software vs hardware when they could be making music. I just like getting on with it, finding what works best for me.

ORIGINAL by PhOtOmachine

How important is originality to your production? If you thought one of your tracks sounded too similar to something else would you stop working on it?

Originality is important but everything should be in context. I didn’t invent the 909 so if I use it then there’s bound to be thousands of other tunes that have the same sound or even drum pattern. If a tune sounds like somebody I like then it’s a good thing, but if it sounds like someone I’m not into then I hit delete.

Whose records can’t you get enough of at the moment?

Prince, Funkineven (he’s very dope), Floating Points, Actress, Lukid and Lone are all impressive.


Where can we come and see you DJ next?

CAMP on March 18th at Get Me. I’m looking forward to that one.

Anything else you want to add?

Yeah. I’d like to do a few old skool hip hop album shout outs. Big up Danny J Lewis,  EL-B, Dark Sky, Super Recordings, Trouble Vision, Darren Cunningham, Stevie J and Alex Nut: For the knowledge.

SH