DETACH, the new album by Matthew Hodson.
PRE-RELEASE AVAILABLE: 15/9/17
Solitude’s first release comes from the Brighton based label manager and producer – Matthew Hodson – titled – Detach. The album expresses sonic excursions, drenched in arrhythmic delays and swashes of reverb, which masterfully play with song structure, provoking the listener with familiarity and yet disconnection – a defining output for the Solitude label. Beautiful, heart felt melodies are delivered through the playful use of synthesis and sound design – something Hodson is often approached for within the world of film and TV. The erratic yet minimal use of raw oscillators surface like buoyant objects on a rough sea of vast delays and reverbs.
Matthew Hodson may be more recognisable from his previous pseudonym as BITBIN and one half of Fat Cat Records Knightstown – a long-time fixture of the UK’s electronic underbelly in which he brought his own brand of down-tempo, erratic, and often-nostalgic musical output. His reputation is characterised for his controlled fusion of both ambient and aggressive electronica while delivering attention to the most microscopic sonic detail. Matthew’s work is also widely heard online and TV due to his long-standing career delivering commissioned work for some of the most prestigious film, television, and gaming studios around the world including the music for the BBC Abstract Season.
Recent performances by Hodson include opening for Wire, supporting the likes of Alex Banks (Monkeytown Records), Ulrich Schnauss, Rival Consoles (Erased Tapes) whilst also working with the original BBC Radiophonic Workshop on their new material at Peter Gabriel’s Realworld studios.
The whole album was recorded very quickly but respectfully – (the way I tend to work when I am on my own) and I try to make the process interesting and fun, using a variety of compositional techniques which often leave the outcome unknown until the piece(s) are performed. With this music, its important (and I think it is something which comes through upon hearing it) is that I am not spending a huge amount of time on the micro-detail which is often the way when using computers. Instead, the process of setting up, recording and performing these pieces must feel as organic as possible. I just go with what seems to be working in the moment and I steer well away from creating mixes which are reflective of the super defined output often associated in electronic music today.”
“The album was recorded as single takes over the course of a month using a modular synthesiser as the main instrument which itself requires attention and appreciation just as any other instrument does. What you hear is what I performed, being mindful of not over-working the songs for too long on the mixes after I’d completed recording the work. I really enjoyed this process and it feels good to be able to get things recorded and out so quickly. I think many of us producers get caught up in not having enough fun in the studio and it can become really demoralising if you’re not careful.”
“I really love working with the modular synth, I know that sounds like a cool thing to say but it really enables me to be very expressive and work without the confines of the DAW/computer as a starting point. I’m also a big fan of lots of delays, reverbs and pitch shifters which provide alternate rhythms and movement within the music – so I’ve really aloud myself to indulge in that side of things for the album as you’ll hear! Because I am working with delays so much, I am often working within different time reference points and therefore I find myself responding to elements within the music that are no longer in the present. I then make assumptions upon this as to what the next move will be compositionally which is then delayed itself! It’s like working within a forever shifting time machine!”
“I like the music I produce to have elements of a pop song, specifically with melodies that people can latch on to! I then take these melodies and play with the sounds and timing to make it feel wonky or lazy in places and I make an effort to never quite deliver the result of what the listener thinks the music is going to do or go to next!”