SRF Innovation Award // Live Showcase // Introducing: Hector Plimmer
November 17, 2015
On the 26th November, we’ll be putting on a London showcase featuring the artists supported by the Steve Reid Innovation Award. Set up to aid the development of unsigned artists who are pushing musical boundaries, the award provides financial assistance as well as vital mentoring. Taking place at The Forge, it’ll be an opportunity to see the artists perform at an exciting point in their development.
To give you an insight into the artists before the show, we’ve asked each of them a few questions about their inspirations and ideas informing their music. First up is Hector Plimmer, an alumni of Brownswood Bubblers who makes hypnotic beats to get lost in.
Could you name one piece of kit that you couldn’t do without and why?
My Korg MS2000 has made it’s way into most of the tracks I’ve worked on in the past three years or so. But equipment comes and goes… in that sense I don’t think there’s really one piece I couldn’t do without. I could quite happily make tracks using random objects in my room or recordings I’ve made out and about. The process changes a lot.
What are three albums that have been influential for you?
Madlib – Beat Konducta, Volume 5: Dil Cosby Suite
I can listen to this album on loop for hours and it never gets old. ‘The Mystery (Dilla’s Still Here) & Sacrifice (Beat-A-Holic-Thoughts)’ are especially golden to me.
Gorillaz - Gorillaz
Love the production on it, the playful & experimental style. The tracks that became popular from that release are good although I find it hard to listen to them anymore…tracks like New Genious (Brother), Starshine & Double really make the album for me & still get heavy rotation!
DJ Shadow – Endtroducing…
Love the mood of the whole album, everything slots together so nicely. I also gained added appreciation for it after watching the documentary ‘Dark Days’ which features tracks from the album & Psyence Fiction by UNKLE too (also another influential album!).
You’ve spoken before about being interested in the relationship between visuals and audio. Have you had much experience with other artists who’ve explored that?
Whilst at uni I discovered Daphne Oram & Her Oramics machine, literally translating ink shapes on a strip of film into mesmerising sounds using a machine she invented that looks like it’s made of meccano. I’ve also looked into graphic notation for music quite a bit, there’s some really beautiful stuff out there. Jon Hopkins’ live show blew my mind at Beacons festival last year too.
Luckily I’ve had the honour of collaborating with Loup Blaster of BBLASTER on the new project that I’ll be playing at the showcase. She’ll be VJing live with some beautiful animations she’s created in response to my music.
You run a night called Crates at the Ritzy. Could you pick out a standout cratedigging moment you’ve had?
Can’t say I’ve had that many amazingly momentous digging experiences. Nothing like the stories you hear of secret spots with rare gems etc…
I did get some pretty cool records from my 91 year old Grandmother not too long ago. She had some interesting Iranian music & a nice album of Japanese Koto music in amongst tonnes of Bach…
She also had Sade’s Diamond Life which I thought was a bit out of character for her haha. She’s sure she has an old Musique concrète record by Pierre Schaeffer somewhere too, although I couldn’t find it.
What’s your live setup going to be at the showcase?
I don’t want to give that away just yet. You’ll have to come along to see it!
Tickets for the show are available now.
Photo credit: Adam Tofil