Synkro is something of an enigma. Operating outside any self imposed genre identity, blurring the lines between what is song and is sound scape. Prodigal master of his craft and iconic pillar of modern electronic bass music. We talk to the man himself about his latest remix output.
Your remix of Tokyo Prose's "Echoes" is an ethereal spacious interpretation of the original track, considering how different your styles are, how do you go about recreating music? Do you draw inspiration from the original or is the process more insular?
To be honest i never know what direction a project will go when i start. With remixes i usually find a few parts from the original that really stand out to me, even if they aren't key elements, then i kind of use the parts i like as samples rather than a template. I have been critizised a few times for straying too far from the originals, but for me there isn't much point in a remix if your not going to do something completely different with it.
You are heralded by many as one of the most musically creative artists within drum & bass at the moment, can this in part be attributed to your roots in lower tempo genres which on the whole are a lot less restrictive?
I am very grateful for the support from the drum & bass community over the past few years, however I don't really consider myself as a drum & bass artist. Most of my 170/85 bpm tracks to me are just ambient electronica and were never really intended to be 'drum & bass' tracks. As i mentioned above i never really know what will happen when i start a project, tempos don't really mean a lot to me, its much more about the overall sound. When i was making dubstep years ago hardly any of it was 140 bpm, a lot of my first releases were around 135/138 bpm. I have played drums since i was seven so to me different grooves sometimes sound better slightly faster or slower, and its just boring making everything at the same tempo.
Deeper drum & bass is certainly something of a rare commodity within the mainstream drum & bass club culture, somewhat meaning the experience is often a solitary one via home listening. Does the demands of the dance floor have any bearing on your creative output?
When i sit down to write music i never really have the club in mind. When tracks are finished I sometimes think about how they might sound in a club, but there are a lot of my tunes that i have never even thought about playing in a set. When i play in clubs i like to mix music that isn't really built for a club into more dance floor orientated tracks, it seems to work.. sometimes....
In 2012 drum & bass is certainly less London-centric than it has been in the past. Manchester seems to be a hotpot of young talent at the moment. With the likes of yourself, Indigo, Akkord and Dub Phisix all getting broad recognition, has Manchester's 170bpm identity finally found itself?
Again, i don't really consider myself as a drum & bass artist so it's never really bothered me to much. But I think its been here for a long time, there are so many amazing producers from all genres and tempos of electronic music that have come out of Manchester. And there are still so many more new producers that are making some amazing music right now in and around Manchester - Stickman, Bay, Kiyoko, Bering Straight, Elsewhere, Reflec to name a few.
Tokyo Prose - Echoes" (Synkro Remix) is out on Samurai Red Seal on now.