On his first trip to South Africa, with a missing link into our music lineage, we speak to the Tall Black Guy about collaboration, sampling and his back story.
Sampling tracks is a form of curation, leading a sound to evoke a subconscious dialogue with memory or hidden gems. Tell us about the process of sourcing your sample intakes and how you conduct their longevity in a mix?
My sampling process has changed over the years. When I first started, it was always about chopping the sample into a gazillion pieces. There was no kind of musicality to it. Most of the time, I wasn’t really thinking about it. Now, I like to study the chords, arrangements, melodies, harmonies etc, before I even start wanting to take a piece of that particular music. Usually, I will try to learn and replay any sample I may find. I want to know how that artist came up with that piece of music.
What do you know about the lineage and history of South African music, from traditional to township, contemporary to genre cross-pollination. What is your take on our sound makers and the potential they have to be consumed on a global scale?
To be honest, I don’t know much about South African music. But, once I visit, I am looking forward to being educated about the history. I am sure that there were a lot of amazing artist that impacted the world that I wasn’t aware of.
Your pace and tempo keeps shifting on every release, releasing a fluidity of tones and textures. How does the everyday, the external stimuli and the current playlisting of record labels influence the music you put out?
The labels that support and put out my music are pretty open to what I release with them. They let me be the artist I want to be.
How important is collaboration in the creative process when it comes to shifting through new compositions and rhythms?
Collaboration is very important. When you put two to three people together in a music session, it can be amazing! All the ideas that each person brings to the table. Everyone has a different skill set that the other person doesn’t have. I am still new to collaborating with other musicians and artists due to me trying perfect my craft over the years. Now, I feel I can add something to any session I am put into.
What’s your backstory when it comes to techniques, operations and software. Tell us about the birth of Tall Black Guy and how you’ve evolved since you started?
My set-up over the years hasn’t really changed at all. I have used the same software (Sonic Foundry/Sony Acid 7.0), the whole time of me making music. I spent the first six to eight years trying to find the Tall Black Guy sound. Many hours I spent in my room just making beat after beat, essentially practice, practice, practice…and more practice. I worked with what I had at the time. A desktop cpu, earphones, and a cpu mouse. Those limitations forced me to work really hard and figure out how to make the type of tracks I wanted to make. Now, it’s about taking my time with productions, and try to make the best piece of music I can. I usually spread the process over multiple days.
You’ve got quite a vibrant community on Bandcamp. Do you feel like the platform assists you in not only getting your music out there, but also make it a viable way to make money off your productions?
Bandcamp is awesome! Their platform allows you as the artist, to fully connect with your fanbase. Whether you want to sell your merch, showcase videos, or share some exclusive material.
From detroit to the UK to the US. Which places and spaces fuel and inspires your production?
Really, anywhere inspires me to make music. Just the fact that I get the chance to come to South Africa soon, is going to super inspire me and I’m sure that experience alone is going to bring up some new ideas that I would want to try out while I am out there.
The year is just about done. Musically speaking, what performance, set or record stood out to you this year?
There was a lot of good records that came out this year. For me, probably the Tribe album. Simply because it’s Tribe. The fact that they released a record, and have been in the game for so long. It’s truly amazing! ‘Thank You For Service….,We Got It From Here’, still sounds like a Tribe record. The beats are dope, the rhymes are dope, and the message is still the same.
Can you explain the state of consciousness while playing live. Where do you go, do you feed off the audience and how do take in all your surroundings?
Playing live is super fun for sure, I think I am conscious while I am playing, lol! I just try to create a vibe for the party. Hopefully, everyone in the room is having a good time. I guess sometimes I can get lost into the music. But, main thing is creating a vibe and making sure the people are having fun.
Catch Tall Black Guy live in Cape Town and Johannesburg this December brought to you by WeheartBeat.
