12 Mar 2012
If you managed to make it down to our night last month you will have seen London based producer BNRY in action. If you didn’t, then we are sorely disappointed in you and you are required to make it up to yourself by coming to our next one on the 7th April.
BNRY (known to his mother as Joe Bush) began to MSTRKFT his musical style as a youngster, growing up to French house and acid (something that he would only begin to appreciate further down the line). What sets BNRY apart from the others is that he has a definite appreciation of what has come before him. In an age where a new producer can be found on every street, it’s important to appreciate what made that a possibility. BNRY is bucking the trend with producers by simply trying to stay away from what is popular or ‘trendy’ at the moment, something that in itself is very refreshing.
We spoke to BNRY after his set when we were all really drunk, so please excuse the fact that this interview may not be our best. Believe us when we say there were some certain things that we spoke about which couldn’t be put down in print…
BNRY: What have I got? I used to have a Roland 303/808 type emulator that is alright. I’ve got an analog reel to reel that I put a lot of my drums through. Apart from that it’s samples from vinyl. I’ve got this Motown compilation that has about 40 tracks of solid Motown, so I use that quite a lot.
It’s maybe like, old French house like Etienne De Crecy. Etienne De Crecy is like, the fucking don.
Oizo’s fucking great. Anything on Ed Banger right now is quality.
No it’s not really. I dunno, Ed Banger is just what’s happening in French house at the moment. But there’s obviously the older stuff like Superfunk, they were all French but the great thing is they all wanted to be from Chicago. They had a photo of a Chicago cityscape on their album cover, and they desperately wanted to be from Chicago. Superfunk ‘Hold Up’ is a great album, I play that whenever I can. That’s huge, and that’s all thanks to my step-dad.
Acid…I don’t know really. It’s just all the things that I was listening to when I was growing up that I didn’t really like. But as soon as I got a 303 emulator in Ableton that was that.
It’s good, it’s different. I walked around for about 3 hours earlier because I had no-one to talk to, so the Costa’s and Starbucks are pretty good. It’s different, it’s less stuck up than other places, it’s good, good vibes tonight.
It’s the new stuff that I like playing. I played one of the tunes I made literally like…3 days ago, so it’s really nice to be able to play that out and get peoples reactions to it.
In the club probably just because the harder tunes go down a lot better. You can get people dancing which is always nice.
It’s completely different from what I’m doing now. It’s like a screamo, hardcore band. Yeah, it’s completely different. It’s nice to do something a different world away.
I play guitar. I’m awful at playing guitar. I pretend to do it and it seems to go down alright.
I fucking hate Alexisonfire. I’m into like older hardcore like Neil Perry.
Black Flag’s alright. Everyone’s kinda jumping on that Black Flag, straight edge bandwagon, it’s just a bit naff. I’m not that big into Black Flag really.
Battle For Paris. It’s completely fucking different. If you saw me live you would just be like ‘who the fuck was that?’
I grew up on house, like seriously. It was when I was around 13 or 14 that I got into hardcore, that was the big thing.
A little emo kid at 14.
I wasn’t an emo kid, I can stress that right now. The town that I grew up in were very big into hardcore. I wouldn’t say they have any influence on each other though, maybe some drums I suppose but that’s it.
I dunno really, as long as I can keep going out and playing and making music that I like, that’s all that really matters.
Check out BNRY’s sounds on…
BNRY Facebook: http://www.facebook.com/pages/BNRY/179364625479673
BNRY Soundcloud: http://soundcloud.com/bnry