Contributing Writer
Alexander Church has been prolific in recent years, with a run of excellent releases under his ‘Configurations of Self’ series. As Config25 drops, titled ‘Blackheart Part 3’, we caught up with Alexander to chat about the series, remixes and more.
Hello Alexander Church, welcome to Music is 4 Lovers. How are you doing and what have you been up to recently?
I’m doing great, thank you. This summer has been filled with studio work and numerous collaborations. Balancing music creation, family, and work has been quite the task.
The latest EP in your Configurations of Self series, ‘Blackheart Part 3’, is coming out in October. What can you tell us about this release?
‘Blackheart’ is a collaborative project between Vincenzo and me. it has been a great project to work on. We have developed a really good workflow, and we’ve been planning a lot of new music for 2024. We would like to add more experimental elements into ‘Blackheart’, moving beyond the typical 4/4 style. I recently used my Buchla music easel in some tracks, and its unique sound transformed the vibe, making it slightly darker than the usual melodic stuff, and it really works.
The EP features an amazing remix of ‘Rose’ by James Welsh, with whom you’ve collaborated many times before. When the music you’re composing is deeply personal, is it challenging to allow another artist to reinterpret it, especially someone you’re close to?
I’m quite particular about who I collaborate with on the label; I like to connect both musically and personally with the artist. James Welsh is a perfect fit for the label’s ethos. We both share a love for certain music equipment and the experimental side of analogue synths and boutique manufacturers. When it comes to remixes, James tends to retain the core melodic elements while adding a dancefloor edge. This complements my style, especially since I sometimes make tracks that are a little too complicated and busy to fit into a DJ set
You’ve been incredibly active with your Configurations Of Self series, with this upcoming release marking the 25th EP. Considering your prolific output, why haven’t you released an LP on the label yet?
While I’m currently content with releasing EPs, I’ve been keen to explore music that diverges from traditional dance music, seeking a closer connection with nature. I’m going to buy an electric generator to venture to remote UK coastal places to write music in diverse settings and later refine them in the studio. I’ve been eager to embark on this journey and have recently acquired a SOMA Terra, which aligns perfectly with this vision.
How much does the environment influence the recording process? Do your tracks reflect their place of creation or are they more like escapist realms in their own right?
Historically, my tracks were conceived as a means of channelling my thoughts and emotions, often linked to the individuals I assist with mental and emotional health in my professional life. While the environment hasn’t significantly influenced my music, it plays a pivotal role in my photography. Each release’s artwork features my photographs. As I move forward, the environment will undoubtedly play a more central role in my creative process, with plans to record in different environments.
For many, the music of their teenage years holds a unique significance, even as their musical tastes evolve. Is this true for you? Are there any standout tracks or artists from that era?
My teenage years were heavily influenced by the industrial electronic scene in France, a resonance I still feel today. The sonic depth and innovation of that time were unparalleled in my opinion. Artists like Laurent Ho and Daniel Tecoult spearheaded this movement. I would avidly collect vinyl from France and even sent self-addressed envelopes across the country, seeking information on the scene. The community and connectivity of that era inspired me to establish and operate my label. The support I receive for my music means more to me than personal recognition as an artist.
Being a producer, has it changed your appreciation for electronic music, for better or worse?
I find it hard to connect with the mainstream dance music scene. I prefer to connect with electronic music producers passionate about their craft and equipment. Running my label as a hobby allows me to enjoy the process without financial pressures (even though the label costs me money). I think there are some amazing tracks out there and some very creative and musically gifted producers doing great things to push the scene forward and I love exploring how different people use music equipment in innovative ways. Anthony Child (Surgeon) is a perfect example of this.
If you could employ an AI tool to manage one aspect of the music-making process, would you? Which phase would you prefer it to oversee?
To some extent, this is already a reality. Some of my modular modules incorporate algorithmic elements, drawing from mathematical theories, reminiscent of AI. For me, music production is an artistic creative process, and I wouldn’t appreciate AI taking over too much of that creativity.
Finally, what’s on the horizon for you and Configurations Of Self?
Regarding the label, I’m collaborating with James on numerous Common Factors releases and continuing my work with Vincenzo on Blackheart. Personally, I’m looking to reinvent my music creation approach, which requires a step back and a new learning curve.
Buy ‘Blackheart Part 3’ HERE.
