You’re a musician and visual artist based in Brighton with a rich background in trip-hop, ambient, dubstep, junglist, and classical-influenced electronica. How did that journey—from your time in Amsterdam to settling in Brighton—shape the Third Bloom project?
Third Bloom was born out of lockdown. I grasped the gift of time and immersed myself in learning the technology to bring all my musical influences into one place. Everything I had ever loved started to shape the music from 90s trip hop experiences with Massive Attack and Portishead in Amsterdam to drum and bass nights with Roni Size and LTJ Bike here in Brighton in the early 2000s.
Your work often feels deeply cinematic, blending sound and visuals into immersive experiences. How do you see the role of visuals in defining Third Bloom’s identity?
I often have a visual idea before the music takes shape, more like a visual backdrop. Dark, post apocalyptic landscapes to inform the beginnings of the tune that can re-appear once the visuals starting taking shape.
You’ve built a strong collaborative “family” with vocalists like Tash Breeze and Mishkin Fitzgerald. What draws you to these partnerships, and how do they elevate your tracks?
They are two of the most talented individuals I've ever met. They both bring a humanity to the music.
'Taken’ is your new single—what can you tell us about the inspiration behind it? Is there a personal story, emotion, or concept at its core?
'Taken' is a deeply personal tune for Tash. She can draw on pretty deep emotions to bring to her performance. If you get the chance ask her about 'Taken', until then it is exactly what you think it is.
How does ‘Taken’ fit into (or expand on) your Solace series alongside tracks like ‘Grace’ and ‘Wings’? Does it mark a new direction sonically or thematically?
The Solace series is a snapshot in time, a reflection of a quite testing time in my life where making music was my solace. They also mark the final set of tunes I played my brother before he passed away.
Can you walk us through the creation of ‘Taken’? What was the starting point—a beat, a sample, a visual idea, or a vocal?—and how did the production evolve?
Tash had already recorded the vocals to a different backing track but once I heard the spoken word vibe I knew I wanted a minimal breakbeat backing to it. Straight away it hit. The chords and bass are lifted from the original backing track, which was almost orchestral. We may do something with that version in the future.
Your tracks often feel atmospheric and emotionally layered, demanding full attention rather than background listening. What mood or journey do you hope listeners go on with ‘Taken’?
Task is a brilliant storyteller, whether singing or speaking she demands you listen. From the first line 'I think when people see something they like they think it's theirs to take' I hope the listener is intrigued to go on the journey. Tash's emotion and the other worldly synths pick you carry you along gently drop you off at the end.
Your sound sits at the intersection of electronic genres with classical and cinematic touches. Which artists, albums, or films have been big influences while working on Taken and recent material?
Max Richter, Daniel Avery, Underworld, all create different world with their music, all have no boundaries to their creativity. Series like The Last Of Us also help with visual mood boards.
You self-record and produce much of your music. What are the biggest challenges and rewards of that independent approach in today’s electronic music scene?
That moment when something breaks and you hear something you've never heard before and you know the tune has it's identity is the best feeling. I am also extremely fortunate to have amazing people around me to collaborate with on various parts of the process, so if i get stuck I just shout and someone will come running.
You’ve played live shows in Brighton (like at Green Door Store or The Old Market). What can fans expect from a Third Bloom live performance, especially with new material like ‘Taken’?
The plan / dream for future live shows is to incorporate an immersive, theatrical feel to the show, where the audience are not sure what is and isn't meant to happen. Also to play different locations. There's a tunnel under Brighton Station I have any eye on.
As both a sonic and visual artist, how important is the audiovisual element to your live sets or releases?
There is no one with out the other. The show is a combination of live electronica, live musicians / vocalists and visuals. All or nothing.
Finally, if you could collaborate with any artist (musician, filmmaker, or visual artist—living or passed) on a future track or project, who would it be and why?
Gil Scott Heron on vocal duties, Miles Davis on trumpet and Punchdrunk on the production. The first two because they both have a tone and soul that is unmatched. Punchdrunk are a production company who put on the most amazing site specific immersive show. Their version of Mask of the Red Death at Battersea Arts centre changed my whole view of what a show can be.
Add comment
Comments