Emotive Electronic Dance Music: Sound On Tape Unveils his Debut EP ‘Digits’.
Cleveland’s Sound On Tape emerges with ‘Digits,’ a debut EP that deftly navigates the intersections of Garage, Electro, and Jazz. Drawing from the sonic palettes of El-B, Burial, Mr. Fingers, Kraftwerk, and Sticky, alongside the improvisational spirit of Bill Evans and John Coltrane, Sound On Tape crafts a sound both familiar and refreshingly distinct.
Released via 904L World Class Sound, ‘Digits’ positions Sound On Tape as an artist of striking talent and sensitivity, creating soulful, atmospheric cuts that stand out from the crowd.
In this interview, we discuss the importance of improvisation, the story behind his label 904L World Class Sound, and the inspirations shaping Digits, exploring how Sound On Tape is carving out a sound that’s personal, reflective, and grounded in his hometown of Cleveland.
Jazz improvisation plays a role in your sound, drawing influence from legends like Bill Evans and John Coltrane. How does improvisation shape your creative process in electronic music?
I am a trained instrumentalist, specifically in jazz, so improvisation is really at the heart of a lot of what I do. Every horn line you hear on the EP is improvised (aside from the choruses), and I was really glad I could work that element into these records. On my end, I’m not using Splice or anything, so coming up with sounds on these analog instruments also involves a level of improvisation and experimentation. Bill Evans and Coltrane are incredible improvisers but also incredible composers. That’s why I love them so much. A great improvisation is nothing without a great composition.
Cleveland isn’t often highlighted in discussions about electronic music scenes. How has your hometown shaped your musical vision, and what does it mean to represent it on a platform like 904L World Class Sound?
My hometown is everything in my music; that’s why it sounds the way it does. I have field sounds I’ve recorded from around the city (the cars, buses, rapids, conversations, churches, etc.) that only exist here. Like Detroit, Cleveland is in the Rust Belt, and the music reflects that. It’s dirty and gritty with spots of light. 904L World Class Sound is a label that I started with a crew of my friends to really house what’s going on here. We needed to create what we wanted to see.
The reinterpretation of Roy Davis Jr.’s Gabriel is a highlight on the EP. What inspired you to reimagine this track, and how did you balance respect for the original with your own artistic imprint?
Gabriel was the first time I heard overt spirituality in dance music. It also has a really hypnotic element to it with the repetitive bassline and that honest, raw vocal delivery from Peven. It’s really special. The only element I kept from the original was the lyrics and vocal melody. I added my flavor to it with the 2-step beat, more chords, bass stabs, and an improvised horn solo.
What was the creative process behind selecting MPH for the remix, and how does his version complement your original work?
I love MPH’s work, so it was a joy to have him on this. Like you said, he brought the driving energy and put a 4×4 bassline spin on it. The remix is massive.
The track You and One Other merges two-step rhythms with jazz. Can you walk us through the compositional process for this piece and how you managed to fuse these seemingly different elements?
The song started with just the main piano line you’re hearing. I was playing that in a different octave, then I sampled myself and pitched it down. The drums are sort of an off-kilter 2-step pattern but more hip-hop influenced, and those were added next. The horn was added last as the lead line. I didn’t want any singing but wanted a lead melody, so the trumpet was the right fit. I’m really proud of how it came out. I always visualize two lovers lying in the sand at night when I listen to it. It represents their conversation.
El-B, Burial, Mr. Fingers, and Kraftwerk are cited as influences. In what ways did these artists inform specific sounds, textures, or production techniques on Digits, and how do you channel their influence while staying true to your own sound?
I wouldn’t say I directly take cues from any one artist. I’m mostly influenced by the spirit of what they’re doing. Burial is the god of atmosphere, so I definitely tuned into that by documenting my own surroundings and putting that into the record to tell my story. El-B has a dark, minimal sound that I love, and his drum patterns definitely opened my mind to what was possible in the genre. I think a Mr. Fingers cover of Gabriel would be really interesting. Every time I sing, I’m thinking of Larry.
Digits EP is out now on 904L World Class Sound
The post “We needed to create what we wanted to see” Sound On Tape interview appeared first on Magnetic Magazine.