Graphics

“Some people like to make just one style – and of course, there’s nothing wrong with that at all. If I didn’t experiment and play around with these different styles and stuff, I would just get bored” says Graphics, AKA young Alfie MacGibbon. It’s the same with DJing – mixing stuff around makes things interesting for those who are subjected to it -  but also for myself” he thoughtfully ponders.

What started as a passing obsession and interest in electronic music has morphed into one of the most promising and pure talents in the UK bass music and house scenes. At the tender age of just 19, he’s released boundary crossing, genre transcending tracks on a variety of underground labels, from Granholme and Well Rounded Indivduals to working with Jesse Rose and being signed to Made to Play.

A keen focus on rhythmic textures and bass kicks, plus a healthy influence from more melodic structures and atmospheric sensibilities, Graphics is making a sturdy name for himself. Maybe it’s because each tune sounds completely unattached to the last. Or his exceptional production skills, which see him float between many disciplines and ethics (from techno to dubstep), refusing to be pigeonholed? Or the fact that everyone from Jackmaster to Mary Anne Hobbs, are obsessing and championing his music? All of the above – and as we find out, Graphics’ secret is striking a natural balance between it all.
 
You’ve risen to prominence over the last six months or so – but what were you up to before?
Before that I'd literally just left school in July. I was listening to stuff like Radiohead, was in a band and not really listening to electronic music or dance music at all. Of course, after that, I started listening to Aphex Twin and that more electronic-based alternatuve stuff. But it still wasn’t dance music..y'know...I still wasn’t really going to clubs, more just gigs and live shows.
 
So what was your entry point into dance and electronic music?
My Brother actually! He introduced me to techno and a bit of hip-hop and started teaching me to DJ. Then I started out going out and playing things like electro, stuff like Justice and that sort of sound (which, at the moment, I’m not particularly proud of). Then I started listening to dubstep a lot – Benga’s album blew me away – and I started playing and making it and it went from there.

Wiping The Eye EP (Granholme) by Graphics

What was your first release?
Well after I started to immerse myself in the dubstep scene I made my first few tracks that were signed to this tiny little label. My first track release actually came out on a compilation, and everyone was saying at the time that there was this massive techno influence in there, in amongst really tough beats and sub bass. But I guess, since I turned 18, my sound has been dropping in tempo more and more, to almost atmospheric levels.
 
How did you settle on your name? Is there any deep meaning or signification behind your chosen moniker?
When I was fifteen my friend said he would use the name Graphics if he made music and he used to tag it everywhere. I couldn’t think of a name at all so I basically asked him if I could steal it off him and he said it was fine! Hahaha!
 
After listening to the tunes on your Soundcloud, there definitely seems to be this root note, or core structure underneath everything - but the sound is very different to a lot of the artists on Jesse Rose’s Made to Play roster. How did your signing come about?
Well it was quite natural and quite easy. Someone sent him a tune and he loved it loads. He wanted to sign it straight away with a b side on vinyl only and things went from there. We've got a great relationship.
 
Has Jesse Rose (Made to Play Records head-honcho) taken an active role in your production? Was he very hands on or did he leave you to it?
Actually, it’s been great working with Jesse, he’s a really sound guy. He lives in LA, and I’ve only met him the once, and we made an evening of the whole thing. But yeah, he’s a great guy but the way he is, he doesn’t hassle me or anything.
 
There’s a growing resurgence for vinyl and physical product – how would you feel if it all literally disappeared and we could only listen to music through downloads?
I’d absolutely hate it to be honest with you. I love searching for music and I love going to record shops and stuff. I don’t know – everyone who’s in this ‘bass scene’, people like Pearson Sound, Ben UFO – they all still use vinyl and only play on vinyl. I also think that for sound quality – whether at home or in the club – you can’t actually beat it. It also makes the music a lot more special as well, rather than just picking it up on iTunes along with everything else you want to buy.
 
As you mentioned before, you’re dropping the tempo and pace down with your releases - do you feel there should be more introspection and emotional clarity in modern dance music?
There isn’t a need but people are becoming a lot more diverse in what they do. Sometimes I make music that fits the club perfectly, and then sometimes I make stuff that’s suitable for home listening. Or sometimes I make club based tracks with a big focus on the melodic aspect – and because I play piano and other instruments, I find it quite hard not to include that melodic feel to my tracks and that instrumental structure to it all.
 
Each of your tracks has a difference to them. Like you said - some are tribal and very bombastic, where others are more dubby and subdued – but would it be fair to say that your approach to your music rises above the lazy Bass Culture term? How do you feel about being pigeonholed, especially as your music refuses to sit still?
I’ve never really thought about it. It sums up quite a lot of nights that I go to but sometimes (not mentioning who) I need something to be mixed up when I watch their set. I sometimes think things need to diversify a bit, because sometimes the sound of a sub is boring, especially all night. So when I’m DJing I just tend to play what I want and what I’m enjoying at the time. Sometimes I want to take it slow and offer more texture and rhythmic depth.
 
You must be feeling fulfilled then after joining forces with experimental electronica night and stable FIELDS? It must be the perfect place for you to showcase this eclecticism...
Yeah absolutely; I’ve just become a resident for the night which is amazing and I will be putting out some records on their label soon. It’s going to be more of a Four Tet thing, so not necessarily suitable for playing out, but, hopefully we’ll get some remixes from someone like Ghosting Season on there. I guess it’s going to go more down that Apparat side of things – but the FIELDS association is perfect for me.
 
What’s pencilled in for 2012?
I’ve got lots of stuff, but not sure what you can mention haha! Well I’m going to busy - I’ve got an acid house tune coming out that’s had support from Ben UFO and Jackmaster – that’s the dancier side of things. Then I have collaboration with Hackman coming up too, which is gaining lots of good support from Mary-Anne Hobbs and more stuff that’s like dance music, but a lot more melodic. And I’ve got the stuff on FIELDS coming out which is just mostly melodic and atmospheric.

Remixes by Graphics

And finally, not necessarily saying that make you music to achieve a goal, but what is your plan? Where would you like to see yourself in a year’s time?
I want to be known as someone who plays out and makes seriously good quality dance music. But at the same time, I want to be known for someone who’s more instrument based and musical in the traditional sense – something that’s more like going to a gig rather than set and feeling like listening to music rather than dancing. I want to cross the boundaries between the both for sure- striking a balance if you will.
 
'Mama Grizzlies' is released on the 23rd January through Made to Play Records. Stay tuned to DT for more Graphics news and releases.