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Did you see the “So U Kno” sample recently went viral on Twitter?
ER: No, that one’s passed me by, probably for the best. [Abi Flynn’s] got an incredible voice as well. She sent us a voice note, like, “I’m the singer you sampled for that thing,” and I sent back straight away being like, “Oh my God, I can hear it so much in your voice.”
Are you planning on collaborating with her again?
ER: We’ve never recorded a vocal, not intentionally. There’s a sonic quality to samples we’re both just really into. It’s very difficult to get when you record a vocal. With sampling, you’re able to reach into other people’s… Someone else might’ve expressed an emotion in a very confident manner that we wouldn’t have felt as comfortable doing. But because they’ve already done that, you can take a bit of it, and it’s a really freeing feeling. Maybe we’ll sample a big pop ballad [with] lyrics that maybe are really overt. But we recontextualize it in a way that feels true to us.
TR: When you’re sampling something, you approach it differently in terms of the way you treat the vocal and chop it, process, as opposed to if you’ve just written a verse and recorded it. With sampling, it’s a bit more carefree.
Are there any artists you think of as holy grail samplers?
ER: Liam Howlett from The Prodigy was one of the first people that I was like, “Holy shit.” I didn’t realize for years that the distorted synth line on “Voodoo People” was a guitar riff from a Nirvana tune. There’s a lot of amazingly creative sampling in a lot of old Prodigy tracks. Kanye, obviously, is an insane sampler.
What is it about a vocal that draws you to it?
TR: It’s tone more than anything else. We both know it when we hear it. We’re on an almost identical wavelength when it comes to hunting for vocals. Whether it’s male, female, whatever genre, we’re pretty much always in agreement when it comes in and we hear that tone.
ER: We just spend a lot of late nights trawling the internet for things we wanna sample, which is honestly one of the most enjoyable parts of making music — hanging out, listening to loads of tunes, and finding something that’s just suddenly like, “Oh my God. Yeah, that.”
How much time do you dedicate to crate digging? You’re touring, you make music when you’re on the road. How do you balance all of this stuff?
TR: Constantly spinning plates, but we’re always making music. On the road, we’ve learned to just make music on our laptops, but it’s great. Now we can be in hotel rooms, in the back of vans on the way to gigs, and we’re always making tunes. And if you don’t feel like making a tune, just go on Bandcamp and search for things. You can be really geo-specific on Bandcamp about a particular genre in a particular place, so you can search for what’s going on in the lo-fi trap scene in Nottingham and Bandcamp will be like, “Here you go.” Probably not very much, but there’s gonna be a few artists. It’s quite interesting going on deep dives like that.
ER: A lot of the album was written after shows in hotel rooms, lying on a bed together with a laptop. We spent a lot of time figuring out how we could bottle up the sounds of our studio and get it all into the laptop so we could just make music wherever we are.
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Jarastyle – #Overmono #laugh #cry #club
Courtesy : https://www.thefader.com/2023/05/11/overmono-the-fader-interview-news-post