Blawan - Getting Me Down
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He tells me that the gap in his CV was unavoidable as it was down to serious health issues but he is quite sanguine about the affair, looking back on it in admirably glass-half-full terms: \"During that period I got really ill. It hit me particularly bad because ages before I became a musician, when I was in my teens, I was diagnosed with a chronic illness and it is something that has made my life a little bit difficult.
\"Because of this ongoing problem, what happened in 2014 just hit me like a ton of bricks and the music went out of the window. At first I was still playing gigs but it was getting harder and harder. I was cancelling a gig here or there, then a few gigs here or there, then cancelling a week of gigs, then another week of gigs, then cancelling a month...
\"I remember lying in hospital waiting to go into surgery thinking, 'What the fuck am I going to do next' I had a choice. I could either really knuckle down and think about how I was going to approach the rest of my career or I could stop doing music. Because the way I was living and working was killing me, you know
Given the size it reached and the fact it was getting support from DJs like Skrillex in huge festival closing sets, one can't help but wonder if the Fugees themselves heard it. He bursts out laughing: \"No. No, thank god. I think I messed the vocals up too much for that to happen.\"
His main influence wasn't family or friends or even a local scene however. Born in Doncaster and raised in Barnsley (\"I was never part of the Sheffield thing\"), nights out clubbing were a rarity when he still lived at home. He is, he says, a hermit. He was then and still is now. Most of his inspiration and research came via the internet: \"I'm talking when Napster first came around, and you'd be using shitty dial-up and it would take an entire day to download an MP3!\"
When he got to university just down the road in Leeds, his initial introduction to bass music was via a West Indian social club that used to put on reggae and dub nights and then, via a new friend, to the whole sonically \"fucked up\" world of Hessle Audio and Hotflush.
The album is, for all intents and purposes recorded on a modular system but there's a 50/50 split between analogue and digital when it came to post-production. His last EP, Nutrition from 2017, was close to a pure live modular recording but he says recently he has been \"backing away\" from that: \"Really there was a period where I got really naffed off with having to edit on a computer and using Ableton but over the last year I've been really getting back into it. You can do so much cool stuff on it. I'm trying to step away from spending one whole week making one modular patch.\"
It seems like his diary is as full now as it ever was. Trade may have come to an end and there's no plans to revive it but a new Karenn six-track EP is already in the can and will be out on a new label. (\"Name yet to be confirmed, we shut the other one down.\") There will be another Blawan EP this year on Ternesc and a Bored Young Adults release which depends on The Trilogy Tapes' schedules, not to mention four or five remixes. It looks like Jamie Roberts is back in full effect and hopefully for good this time.
Credited as one of the artists spearheading the industrial techno revival,[4] Blawan's post-dubstep sounds and raw, techno-influenced beats have earned him praise from DJs such as Surgeon and the Black Dog.[1] According to Philip Sherburne of Pitchfork, his music is \"full of jackhammering kicks, splintered wooden percussion, and short-fuse breakdowns\".[2] 59ce067264
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