KonSoul presents a different side to the Symmetry catalog with their brand new double-sided single ‘Circular’ and ‘Automatic’.
The new collaborative groups, comprising of drummer and producer Tom Derryman, bass player and musician David Spicer and singer/songwriter Sarah Binney combine their eclectic experience to deliver the seldom heard sound in DnB of live musicians jamming.
They collectively began a studio writing project at Spicer’s Devon-based Osmosis studios, recording their own drum breaks, laying down dubby basslines and combining this with Sarah’s unique vocal talents. Drawing from their funk, soul and dub influences, these recordings of live takes fused together with modern DnB production techniques grew into the sound we hear on this first single.
And to celebrate their forthcoming release, we asked each member of KonSoul their influences from across the musical world…
Tom Derryman
- Break
My biggest influence in the drum and bass world. I’ve always been drawn to his warm, analog production sound which often utilises the sound of real instrumentation and organic drums. Tracks that have been a particular influence are his trademark musical rollers like ‘time after time’, ‘grand funk hustle’, ‘strictly entertainment’ and ‘love so true’. On the opposite side of the coin, I’ve also always admired the more syncopated drum workouts drum displayed in tracks like ‘slow down’ and ‘they’re wrong’. His work with Kyo on tracks like ‘simpler times’ and ‘hold on’ have also been a massive direct influence on the KonSoul sound.
- Calibre
The music man, holding the cornerstone for the soulful, liquid funk end of DnB. Calibre stands alone as a true artist in the DnB world, his albums are vast and often setting a deeper mood that washes over the listener setting a unique vibe. His tracks are often simple looped ideas, never overwritten or overproduced and his approach has always inspired me to try and keep my productions simple and concise.
David Spicer
- Sly and Robbie
A rock-solid rhythm section that has stood the test of time. They showcase simplicity in all its glory, the less is more approach epitomized. As Miles once said, ‘play me one note’. Robbie Shakespeare’s influence is one that will never leave me, it’s the approach that grounds me as a player and always reminds me to keep things understated and never overplayed.
- George Clinton
The godfather of P Funk, a style very close to my heart and always an influence on my playing. The simple principle of playing ‘on the one’ is a fundamental of the P Funk groove, which has always underlined my basic approach to funk and groove playing. Bassists such as Bootsy Collins and Larry Graham have always been a heavy influence on me.
Sarah Binney
- Four Tet
Keiran Hebden’s background is also playing in bands and I think you can hear that musicality in his tracks. I love the different textures and layers of sounds he builds into his tracks, it’s experimental but he also he manages to create quite ethereal uplifting tracks without straying into saccharine territory. His most recent release just this April is ‘Teenage Bird Song’ and is characteristic of his style but the first track that made me sit up and listen is called Angel Echoes, which not everyone will like, as it centres around this weird hypnotic looping vocal that builds and recedes.
- Boston
I really like Boston’s blend of acoustic instruments and the live feel whilst also taking full advantage of the digital space – with ‘Life is’ he’s really playing around with panning and massive amounts of reverb, it’s dramatic and the track swirls around you but also manages to sound really warm due to the smoky vocal and presence of real instruments.
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