Londoner Geode has gradually made a name for himself with material on Deep Heads, Vulcan and Instinct Audio, drawing the attention of Commodo and Hackman, amongst others, along the way. He has an EP set for March on Innamind Recordings, and remix of Amoss coming on wax. We’ve kept on an eye on Geode‘s jazzy take on dark club music for the last year and now have exclusive cut ‘Agriculture’ and a quick Q&A with man himself.
My real name is George. About 7 years ago I moved from the sticks to London where I now live with my girlfriend Ola and our lodger. I go by the name Geode because when I was younger, I was really into fossils and crystals. I’ve been making computer music since my early teens mainly for my own satisfaction but also for some supportive family & friends. I guess my signature sound falls between 120-140 bpm with a strong focus on jazz-chords, spacing and grooves.
– What do you like to listen to outside of ‘dance’ music?
I’m quite particular about what I listen to inside and outside of dance music, but not in a genre-specific way. I listen to a lot of instrumental classical & jazz music and, by extension, hip hop that lifts from it. Someone I’ve become slightly obsessed with recently is Michael Pluznick (who you can find on youtube) whose ambition it is to document rare percussive talent from around the world.
– We first got in touch about this introducing piece around a year ago. How has your production changed since then?
That’s a difficult question for me to answer because it requires a self-awareness which I try to avoid. I hope nothing has really changed in the character of my music, but I guess I have a larger & more expectant following which skews me towards a set bpm range. Also, having had the opportunity to play my music out, I’ve become more dancefloor minded – so I’ve been trying to tidy up my arrangements & mixdowns.
– Which producers making similar music have influenced you. Any releases in particular?
Congi, Promise One, Jafu, K-Lone, Facta & Aiko are all pioneering individual and fresh interpretations on dubstep which resonate with me and keeping the scene moving forward. The one producer that has most impressed me, however, is B9 – who is conjuring a truly seminal, groove-heavy & musically rich sound which is a constant source of inspiration. I’ve recently begun collaborating with B9 et al but I can’t say much more than that right now.
– Why do you think so many producers have turned to this 125-130BPM, typically dark sound?
My suspicion is that the rise in popularity of darker 130 stuff is because “dubstep” is now a dirty word in polite music circles. Music at 130 also lends itself & mixes easily with house & garage – and maybe there’s a shared audience? You’ve also got great ambassadors in that bracket – artists like Wen, Blackdown & Versa – who are plugging away.
– What can we hope to see from you release and events-wise this year?
Release wise, I have a 4 track EP with Innamind Recordings forthcoming in March which culminates about 4-6 months of my 140 output. I’ve also had the nod for a Smoking Sessions release which will showcase some of my more melodic tracks. Event wise, I’ve got bookings in Belgium & Poland (May 17th & April 16th respectively) which look promising. Other than that, I’m very negotiable – email@example.com.
– Tell us about the track you’ve given the introducing series.
The track I submitted is entitled Agriculture and emanates from my long standing appreciation for deep house. It’s not that typical of what I usually produce but I thought Get Some would be an ideal platform for promoting that side.
– And finally, please complete the following sentence: Get Some..
Flava in ya Ear.