For someone who’s name basically means to keep things in view, Chris Inperspective has a tendency to go off on tangents. Chris’ conversations are often flows of consciousness broken up with sudden outbursts and daring statements but they always leading to a carefully pondered point. No wonder than that the his label also named Inperspective, has carved a niche out of playing, producing and promoting a similarly daring style of DnB often known as Chopping or Edits. Ahead of his current U.S tour, Chris Inperspective joined Drumz of the South on the last warm day of the year for a chat about the long and winding road to success and of course, what it’s like to walk off the beaten track.
Could you tell us a bit of History about Inperspective?Well as usual, it was about me getting angry. I started the label in 97 as a backlash against the scene at the time. There were artists such as
Source Direct and
Photek, who were making some amazing stuff, but I wanted to do things a bit differently.
As a result of a conversation with
Equinox, I decided to start a label. As we started rolling, the DnB scene started changing again. The tek-step sound such as
Ed Rush and
Optical and
No U-Turn came in and distributors were telling us that our sound wasn't gonna fit anymore. So I put the label on hold for a bit and started going to
Section 5 on Kings Road. The shop shut down and I was angry ‘cause I couldn’t understand why people weren’t in to what I consider to be the greatest dance music. I went out to Miami, got to meet some heads when I was trying to start the label again, linked with people like
ASC and
Pariah, guys that were still into what you would call the ‘atmospheric scene’. I came back and decided that if no one is gonna play the music I’m feeling’ then I’m gonna start my own night and that’s how
Technicality started. A lot of ideas I have have been born out of me having a strop!
Do you remember your first Technicality night?Yeah! It was October 2002, myself and
ASC played.
Blame had just come out on
Good Looking. It’s still one of our most successful nights. We also booked names like
PHD and
Seba but back then people didn't really know who they were so the nights were a a bit of a washout. But I kept the faith and always had the support of the club which was amazing.
Spencer from Herbal particularly toughened me up. He kinda tested us and I appreciate that. He showed me how to do the nights properly and for example, made me address the fact that the night attracted such a male crowd.
Is Technicality attracting more girls now?Yeah, definitely. More and more ladies are coming along to check Technicality and I like to think that’s cos they like the music they’re hearing not because the name is more recognised. I don’t understand it about women, without wanting to generalise, they don’t seem to be so turned on by instrumental music in the same way that guys do. So many female DJ’s fall into the trap of feeling they have to play
Liquid funk to represent the ladies. There are exceptions of course,
Alley Cat and
Flight for example. When I booked
Flight for Technicality, a few some people were confused because she’s been put into a bracket. But she came up through
Reinforced, so if anyone knows about breaks, it’s her. I’d like nothing better than to have a female on the label, not a gimmicky way, but just so we can represent.
That’s why I was glad when we hooked up with
Panka, she restored my faith.
What made you start making music?I still don't consider myself as a producer. I love making music it but it’s not what I’m best at. I actually used to make Hip Hop with people like
Jacob Sam La Rose (spoken word artist) and a school mate called
Dirwin under the name
Pure Cut Productions - PCP, I didn't think of it at the time cos I hadn't heard of the drug! Back in the days there was a whole new crop of South London artists-
Son of Noise,
Hijack and
Blade.
Blade was just some guy from Armenia who lived in Ladywell back then! I also remember meeting
Saul William's and I was just like “Alright Saul?“ having no idea how successful he’d become. Then I was getting into DnB as well, but I was using a package on the Omega. I wasn’t using it properly, it was hilarious! Equinox showed me how to use it properly. I started going to
Lazer Drome in Peckham every week. Everyone would come round my place, about 20 mans, we’d order pizza’s, fill our bellies and go to Peckham via Catford Bridge Station. A big 20 of us, not in a rowdy, stupid ‘lets have a fight’ kinda way, we were steppin out for a fight with the music!
If you could describe 2004 as it’s been so far in one word or phrase how would you?
[hesitates] Catastrophically Uplifting! This year has taught me a lot about myself spiritually and about people around me. It’s not been a negative thing, but everything’s been such a mess! Like the All nighter, it started off as a chaotic idea but it all fell into place and became an uplifting experience! I’ve akinned this year to the end of the
Matrix when
Neo can see everything in code. There’s more clarity. Even with my DJing, it’s always been a bit sloppy but it was just a case of practicing more. It’s common sense.
How was Slovenia?
I remember the elements all around me. Blame taking the piss outta me, telling me that I was playing too dark and I brought out the rain! I was like “yeah that’s cos the music’s in touch with nature man! It woke mother nature up and she got vexed and decided to rain.!” I was joking but I could be right, it’s such emotive music, maybe it did do something to the sky. I played ‘The Drain’ and just as it dropped there was this huge crack of thunder and lightening with mountains in the background. At the end of the set I dropped ‘Forgotten Road’ (
Fracture and Neptune) and during the break down everyone had their hands in the air in the rain, caked in mud and then the Amen came back in and everyone went mad again, mud flying. It was europhic. That’s what it’s all about, the day I don’t feel that anymore, is the day I gotta stop.
How do you think people will react to you in America?
I’m terrified! Up until now it’s just been us having a laugh and doin’ the night and now I’m going on this tour and people are biggin us up I think, ‘Don’t say that cos when I clang people are gonna say “he’s supposed to be rah rah...!” It’s good in some ways though, ‘cause it’s made me fix up. Slovenia made me realise that sometimes I forget the artistry of DJing so I’m nervous because I probably haven’t practiced enough!
I think most of the Americans are gonna be expecting me to play pure chopping the whole way through and I’ve never ever done that. I happen to like doing things that are a bit more abstract, because I think I’m better at doing it. I’ll leave the chopping to the experts;
Breakage, Equinox and
Fracture and
Neptune. The fact that I’m doing 11 dates in four weeks says that people out there are prepared to listen to me play for an hour! Hopefully I won’t let the promoters down and I won’t clang and it will be good music and good times. Also, I feel that if I get this right, it this will open the floodgates. From what I’ve seen the likes of
Dylan and
John B are always in America which shows that there’s something about those artists that they like.
Out of interest, what do you think of John B?
I gotta lotta time for John B although he might not have a lot of time for me! No, he does actually and I’m grateful. We send each other tunes and although we may not be in to each others material, we take each others opinions. 9 times out of ten, people know what John does, it’s crazy man, kitsch camp business, but it’s that’s him and I rate him for that. No one can say he sounds like anyone else.
Does the Inperspective sound get compared to anything else?Certain people say we just sound like
Source Direct but I’ll defy anyone to say that Acid Rain remix sounds like anything Source Direct ever did and that’s with the greatest respect to SD, they’re my favourite producers of ever, them and
Dillinja up to a certain point and
Wax Doctors and... there’s quite a few other artists actually! [laughs]
Photek as well. There’s that whole
Photek/Souce Direct thing actually, I have this argument with
Fracture all the time. He says Photek is better but in my opinion, not EVERY Photek tune is running. Every single tune Source Direct made is running even when they started changing! No one can take away what or who Photek is though. It’s funny cos I’m talking about Photek in a legendary godlike status but apparently, Photek never believed he was any good. I think I can see what he was saying now, I’m no way putting me in the same light, but it’s weird when people are bigging you up cos I think, nah they can’t be talking about me, I’m not that good! When Photek turned up at Technicality, it was hilarious, grown men were crying! There was someone that we’ve all bought tunes by, fantasised about meeting, you can’t take nothing away from the boy. I remember meeting Dev (
Paradox) for the first time as well... I travelled 4 and half hours on a train to see him play live, and I wanted to meet him so much. I think part of the reason he got involved with him was because he always remembers this crazy Black guy coming from London to meet him! He’s an inspiration because when people over here didn’t get behind his music, he was off round the world, Italy, Sardinia, US crazy places that I didn't even know DnB existed in! I thought if he can do it, I can.
Square Pusher and
Aphex as well, there’s no way anyone’s been doing anything as off-key as Aphex has been doing yet, he’s probably got more money than ten of the big names in DnB put together. You don’t do that by pirating someone else, you do that by being truly original. It’s a Marmite thing with him though, sometimes it’s just craziness, I don’t know where the music starts and the Art starts. It’s like he draws really distorted Salvador Dali pictures with sound. My point is that many people have said to me to that make it in Music you have to follow certain rules and I just think well no, look at Aphex and Square Pusher, anything is achievable.
Does the pigeon hole thing piss you off?I think it’s sorta trendy to say “I hate labels, I hate pigeon holing” but at the end of the day, we all do it. there’s so many different sub genres within the scene and I think that’s actually because of the strength of DnB. The only thing I’d say is a weakness is people’s resistant to anything slightly commercial. As soon as anyone makes something that could get on TOTP or whatever, the producer will get a slating from heads in the scene. I do think the pigeon holing thing is always gonna happen, The Americans are terrible for it, someone was telling me that they went into a U.S shop and there were 20 different sub-genres! That’s probably a bit extreme, but I think segregation does needs to happen to a certain extent. Everyone’s into a different thing, some are into more vocally stuff whereas some are into hard and dark etc! As long as the producers within each sub-genre making the music are happy with what they’re doing then it doesn’t matter. Everyone should just get on with what they’re doing and enjoy the music they’re making.
What's your reaction to all the attention Inperspective has received this year?It’s weird because I just see myself as a fan. Other’s peoples perspective of Chris Inperspective is so different to mine. It’s funny when people AIM me and I reply because they’re usually shocked that I have the time to talk to them. I think why does the fact that I run a label or because my face has been in a magazine mean that I’m too busy to talk to people? I can’t forget the people that have been behind me since day one. There’s guys like Luke Mercott who did the site and waited 3 years to be paid. That means so much more to be than, with all greatest respect, a big name DJ playing an Inperspective tune. What I find a little irritating is people saying “You can’t be seen to do this or that.”
Where are things going for you?Ideally like to turn Inperspective into a major independent label. Yes, I’d like to be up there with
Metalheadz, Reinforced, Good Looking, a lot of those labels that I admire, but ultimately, if we’re looking 5-10 years time I’m looking towards
Mo Wax, Naked music, labels off the ilk that are able to change.
Ninja Tune is another great example. It was
Cold Cuts label originally, now they’ve got sub-labels like
Big Dada dealing with Hip Hop as well as artists like
Square Pusher, Aphex, Peshay, Dillinja, every top artist within each genre. That’s the kind of thing I’m looking for in the long-term. I’d still keep the family aspect though, a network Crazy Gang aspect but I’d like a few different labels under the banner of Inperspective. That’s what the downbeat thing is all about, I encourage our artists to make whatever they want . None of them have made a down beat thing that I haven't liked yet. ‘Obstructed’ on Equinox’s ‘Troubled Mind’ release is like an Old Skool Techno thing and a lot of people are really feeling it. This is what I was saying about the fear of commercial applications and the fear of being seen as non underground anymore. That attitude where “only true artists don’t make money.” I’ll defy anyone to tell me that
David Bowie isn't a true artist. I believe true talent shines through and I also believe that there are many artists out there that are desperately talented but will never be seen or heard cos of the way they haven't got the people around them to help them be seen. Personally, I’ve also got a huge interest in film. I keep saying it, but I’ve got a book and two screen plays in me! I don't really know how to get them out yet. Maybe next year!
NEXT RELEASES:POLSKA E.P : SWEPT, CAUTIOUS, SABBATICAL, DAISY
FRACTURE AND NEPTUNE E.P: TOO DOGGONE FUNKY, WORM SCIENCE AND FREAKY MEDIA
www.inperspectiverecords.com>
Interview by Georgina Cook
Labels: interviews, music, words
