PREMIERE + INTERVIEW — Goshawk feat. LYMA – 1 Up 1 Down [Lumberjacks In Hell] [MI4L.com]

Thanks for taking the time to talk. Where are you this moment and how are you spending the day?

I’ve just got back from Sunday morning football. My youngest plays for a local U9 team, and I’ve somehow been roped into being their Manager/Coach. It’s almost a full time job, but it’s really rewarding – and the lads seem to enjoy it!

Where were you born and where are you based these days?

It’s complicated. I was born in Derby, but moved to the picturesque Peak District town of Matlock when I was 5 – so I consider this my home town. I went to University in Nottingham in the mid-90s, then moved back there to live in 2004. Been there ever since – my kids are both born and bred in Nottingham

What is your earliest musical memory?

I remember making my own radio show talking over my mum’s John Denver records using a tape recorder and microphone when I was about 7. How’s that for uncool? To be fair I wasn’t really into music until my teens, which is when I discovered synthesizers and became obsessed with them. I started a paper round and started taping my favourite songs from the Top 40 to listen to each morning at 5am

Is there an album that sticks in your mind from when you were a kid?

The album I listened to most was ‘Blissed Out’ by The Beloved, which is a collection of remixes and rarities of their singles. I was absolutely entranced with their drum programming, synths and euphoric vocals. Closely followed by a best of Talk Talk compilation

Who were your heroes and icons in your teenage years?

I heavily got into music when I was around 16, and it completely took over my life. I started out as an Indie kid, idolising all the shoegaze and Madchester bands – Ride, Pop Will Eat Itself, Slowdive, Teenage Fanclub, Happy Mondays, Stone Roses, Primal Scream, etc. Loved the remixes by Andy Weatherall, Paul Oakenfold – which then led me into electronic acts such as The Beloved, 808 State, The Shamen. It was a natural progression onto acid house music. The late 90s was an amazing time for music

When did you first start dabble as a DJ?

Other than the John Denver incident, I started DJing when I was at University in the early/mid 90s. My housemates and I were lucky to experience the heyday of the DIY deep house scene in Nottingham, and I must have spent half my student grant on records. We had Technics 1210s set up permanently and it was open house at the weekends

What were some of your early gigs and what kind of stuff were you playing?

I didn’t really get any gigs until I was starting to get known as a producer. Me and my best mate Ant Plate had started to release records as Rhythm Plate, which led to DJ requests. I was working in independent dance music record shops at this time, and was a 100% deep house and garage fanatic. Completely into the US labels such as Murk, Tribal, Deep Dish, 8 Ball, Nervous, MAW, Emotive

When was the moment you realised that Djing and producing was going to be more than a hobby?

I’ve been completely obsessed with writing and recording music from around 1991 (although to be honest with you, I’ve always been way more into producing than DJing). It started to get a bit more serious from 1999 onwards, which is when we started releasing Rhythm Plate records, which were really well received on some pretty seminal labels. However, for me it’s always been a hobby/passion –I’ve always had a day job – even now. Probably one of the reasons I’ve never been particularly prolific

What was your first release and what led up to its release?

My first ever release was the Rhythm Plate ‘Masters at Wirksworth EP’ on DIY back in 1999. This was at the height of my obsession with deep house. I was working in a record shop as well as really good friends with Martin Atjazz, Clyde and the Derby crew. Myself and Ant Plate were spending every spare minute writing tunes on pretty limited kit – which made us have to be more creative to be honest. It was a dream come true to have the DIY crew release our EP, as they were like superstars to us having been to their parties and raves

Tell us about your Goshawk moniker?

Goshawk is my solo project, and the first release under this name was on the outstanding Kolour Recordings back in 2015 – a three tracker 12” entitled ‘From The Woods EP’. Really privileged to have them pick this EP up, and it still sounds pretty good now IMO. If I say so myself

Which one of your release do you think made the greatest impact and why do you think that it did?

I think the Goshawk EP with the biggest impact has to be my ‘Transatlantic Soul EP’ I released on Atjazz’s ARCO label. This featured the outstanding Erik Rico on vocals, and comprised four original vocal cuts with no remixes. This got quite a bit of interest and radio play from some of the bigger/mainstream DJs, which was a pleasant surprise. It’s a project that I’m proud of, as it comprised completely original music, with no samples (other than drum hits). To have a vocalist of Erik’s calibre involved really helped to get some attention for sure!

Is there a record which you think went under the radar a little, that we should check?

I think the EP that went under the radar the most was the ‘Double House & Triple Garage EP’ which I released on the Rhythm Plate ‘Pressed For Time’ label back in 2017. Although it sold out quickly, we only ever pressed up 350 – meaning that it’s not that well known. It’s an EP where I’m really happy with all four tracks, and they are all really different from each other

Who do you think is making great music right now?

So many to choose from! YSE Saint Laur’ant is seriously underrated. Art of Tones I could listen to all day. Red Rack’em is so unique. Atjazz is an all time legend, and Peacey is releasing some great stuff on the ARCO label. Frits Wentink, Dam Swindle, Franck Roger, Situation and DJ Steaw are always a sure bet for quality

What’s the most recent record you purchased?

The last record I bought is a classic from a few years back – Lazare Hoche & Malin Genie ‘I Don’t Sync So Part 1’. Been meaning to replace it after it went missing after a gig one time. Love the ‘Naïve’ track in particular – right up my street and a proper staple in my sets when I used to DJ regularly. Speaking of which, I’ve gone into semi-retirement now – but never say never!

Is this your first release with Lumberjacks In Hell? How did you first connect with the label?

Yes this is my first release with LiH. I first connected with Marcel via WhatsApp a couple of years ago, which was suggested by my mate Martin Atjazz. I was feeling a little bit deflated about music at the time, and Marcel was like my own personal movitator – always chivvying me along, asking for new/unreleased tracks, telling me to finish ones I’d partially worked on. I had the Greg Blackman vocal track already completed, and Marcel was thinking about putting this on a compiltation – but then one thing led to another, and before you know it I’m releasing the Loyalty EP that’s out now

Give us a round of your new EP?

I’m super proud of this EP, as it’s the kind of record I’ve always wanted to release. All original music with a house/disco/boogie vibe, complete with TOP quality vocals. I feel very honoured to have Greg and Lyma involved for sure!

Talk to us about Lyma as an artist and on the record.

What can I say, the man is a legend! Within 48 hours of him being sent the instrumental of ‘Loyalty’, he had written and recorded the full vocal arrangement AND recorded additional guitar licks. A real pro! It was the same with ‘1 Up 1 Down’ too. I couldn’t be happier with both the vocals he composed. Finally, the remix he’s dropped on the EP is a perfect addition to the release as it’s chunky and stripped back – which is what the record needed. I’d love to work with him again for sure!

Who are the other artists and musicians you want to shout out on this new release?

I have to give a huge shout out to Greg Blackman, as the vocal he recorded on ‘Ain’t Gonna’ is a soulful banger. A serious musician – check his other releases, as there are loads of amazing tracks he has worked on

The icing on the cake has to be the original commissioned artwork by Pete Fowler. I LOVE IT. An avian house party, with a Goshawk on the 1210s, illustrated in a graffiti style? BOOM!

Finally, none of this would be possible without the support and encouragement of Marcel. Thanks mate!

What are you working on next that you can share?

There have been talks of a potential new Rhythm Plate release (although it’s hard to facilitate when I’m in the UK and Ant is in Dubai!), also I’ve got loads of tracks that are 85% finished and just need curating properly for specific labels.

Finally, I’ve been talking with Frank H Carter about a vocal collaboration, which is really exciting as he is a proper talent. Watch this space

What inspires you to make music?

I find my mojo comes and goes over a period of weeks. I’ll work really intensively for 3 or 4 weeks, then have a break to do other things for a similar period of time. That way, I don’t get stuck in a rut. One think I have learned to do is work REALLY quickly – no more procrastinating!

Thank you for your valuable time.