Delian Sound – SumMix 016
Delian Sound steps up for SumMix 016. The Cambridge-based producer and DJ is known for engineering tough, sample-heavy tracks that nod towards the breaks and UKG end of the spectrum. With his dubs getting spins by the likes of Riz La Teef, Breaka and Dr. Dubplate (including a recent release on Dr. Dubplate’s ec2a label), it’s safe to say Delian Sound is a name you want to get familiar with real quick if you aren’t already.
I caught up with him to find out how he got into producing, his influences, dream collaborations and more. Read on and don’t forget to check the mix out at the bottom!
Giddy: First things first, would you like to introduce yourself?
Delian Sound: Sure – I’m Delian Sound, a producer, DJ and music teacher from London, currently based in Cambridge.
G: You’re steadily building a reputation for yourself as a producer. How did you get started producing? Were there any particular influences that inspired you to get on the buttons?
D: I clearly remember going in HMV one day and picking up Horsepower Productions – Quest For The Sonic Bounty, probably just because I thought the artwork looked cool. It was really different to any Dubstep I’d heard before, but it got me interested so I checked out the other early Tempa releases and also the Dubstep Allstars series. I reckon that’s probably the best introduction into the UK club music scene any schoolkid in the early 2010’s could hope for.
That led me to begin making beats at school on Cubase, and then later on Logic. I didn’t really know anything about how to mix a track or how to approach labels, so it was really just a bit of fun for myself and I used to finish maybe 1 or 2 tracks a year then self-release under various different aliases.
Over lockdown I decided I was gonna give producing a proper go and took a few online lessons, then made my first tune under Delian Sound – Noah’s Still Dancing (after Dance From Noah made in 1971). I took my name from Delia Derbyshire because I think those early pioneers like her, Daphne Oram, Suzanne Ciani don’t get enough recognition for how much they influenced the direction of electronic music. I always include samples from the BBC Radiophonic Workshop or similar pioneering workshops from around the world in every track I make. I think having some kind of gimmick that will make people go “oh yeah, that’s a [Delian] track” is really important.
G: Yeh I’ve noticed those little motifs in your tracks. They definitely help distinguish your tracks from anyone else’s. What’s your production set up like?
D: My set up at home is really simple – just a couple midi keyboards, a laptop, monitors and a subwoofer. Despite taking my name from Delia, I really don’t know much about modular gear or hardware synths – makes me feel like a bit of a fraud sometimes haha.
G: Nice, less is often more! Given the use of samples in your tracks, I wasn’t sure if you had an old Akai you used to get those crunchy sounds. How do you go about starting a tune?
D: I would definitely love an Akai sampler… If I was ever gonna involve some gear in my set up that’d be top of the list!
Occasionally I get a really clear idea for a tune and can get everything down in just a few sessions – Cor Blimey was one of those. More often though it starts with one or two samples with a strong vibe that I can imagine building a tune around. From there I’ll make a folder and add in other samples/SFX/vocals that I reckon might work with it until I get to a point where I want to start dragging them into Logic and structuring it into a track. I also try and settle on a track title early on to make sure I stick to whatever vibe I was going for at the beginning.
I’ve spent a lot of time building a good pack of samples I can draw from. I really enjoy the process of researching different producers / musicians on Discogs and Whosampled and digging through albums for samples nobody might’ve found before. I’ve got the classic sample packs like Blu Mar Ten and Zero-G but I use them quite rarely now, and I don’t use sites like Splice because it would take away a lot of the fun for me.
G: Your sample-finding process sounds serious! Does much processing go on after you’ve found the sample you were after?
D: I don’t apply any processing to samples when I’m saving them to my pack of sounds. Partly because I didn’t do that when I started and it would be really long to go back and clean everything up now, but also partly because any processing I want might differ depending on what I’m using it for. I think better to leave the sample clean and then you can make specific decisions about how you want to process it in the production stage. Only processing I might do is save the audio forward+reverse if I think it works in reverse so I can audition both easily.
I went to a CDR talk with Benny Ill a couple months ago and this is reminding me of some advice he gave – he said on a single record there used to be an artist, composer, producer, engineer, promoter etc. and they were all different people with different skills. Bedroom producers are now expected to be all of those, but you can’t try and be them all at once. He said it’s best to have your ‘producer hat’ on for one session and solely focus on writing, then have your ‘engineer hat’ on for another session and only focus on mixing. When I’m crate-digging I’m just focussed on finding samples, and I’ll leave all the processing for later.
G: That’s some solid advice. It’s definitely easy to get distracted on say , mixing, when you’re supposed to be writing a track. I’ll have to give that one a go myself. Given the influences you listed earlier, if you could collaborate with any producer/artist, dead or alive, who would it be and why?
Really tough question! I feel like I’d get a lot out of a day in the studio with Zed Bias or Horsepower Productions in terms of learning about their track-building process & mixing techniques. For pure musicality I’d pick Steve Gurley – everything he touches turns to gold.
I dunno how a collab would go but I’d love to sit down and talk music with Quincy Jones and Patrice Rushen – I’ve been combing through a lot of their music for samples recently and they’re both geniuses.
And of course a day in the Radiophonic Workshop with Delia would be a dream. I’d love to get a tour round all the crazy machines and have a go making some of those weird SFX myself.
G: Some solid choices there. Would definitely love to see a Quincy Jones link up for sure! Haha Any newer crews or artists you’re feeling right now?
D: Yeah I really like the sampling I’ve heard in Millicent’s tracks. Also feeling Bisoux, FTRRLT, Muna, Myledo, SWR, and of course Introspekt. Last time I saw Tailor Jae she said she was getting into producing – she did that wicked track with Traces a few years back so looking forward to hearing what she comes up with!
G: How was the mix recorded? Was there any idea behind the mix?
D: The mix was just recorded on my controller at home. I recently got some Audio Technica decks, still getting to grips with them but enjoying it a lot!
No particular vibe I was going for in the mix – just a load of tracks I’ve been sent/bought recently and some forthcomings/dubs. I always like to start mixes with one of those early pioneers I mentioned earlier, and I think something a bit experimental at the beginning creates an interesting atmosphere where anything could happen. Haven’t been brave enough to open one of my live sets like this yet but maybe one day haha.
G: Ah man, you definitely should! Tracks like that definitely work as a good palate cleanser between sets imo.
Just wanna say a big thank you for the interview and mix. The mix bangs! Before we go, you got any upcoming projects or gigs people should know about?
D: Yeah I managed to get a last-minute set at the next Slipped Disc (17th June at Cambridge Junction) – gonna be playing 12-1 supporting Izco so well excited for that! Also Nancy June invited me down for a set at Planet Wax on 21st July alongside herself, Axle, SPD, Pent.1, Winona and Horsepower Productions(!!!) Never thought I’d be playing on the same lineup as HP so huge love to Nancy for the invite!
Got a physical release coming out on Axle’s new label Dimeshift later this year. Also still in talks with Dr. Dubplate about a physical release on ec2a… hopefully we’ll get something locked in soon!
If you’re in Cambridge, make sure you catch Delian Sound at Slipped Disc this Saturday. London heads, get down to Planet Wax on 21st July to catch him doing his thing there too. (Side note to all the vinyl heads: Planet Wax is a brilliant record shop, I can fully recommend a visit there any time. Their record selection is on point and they have great beer now too!)
Lastly make sure you show Delian some love and give him a follow on the links below.
Delian Sound:
Tracklist:
Suzanne Ciani – Glass Houses
Mercy System – Left Us In Want
Sickflip, Chunky – Gotta Be
Holloway – Trouble Until The Robins Come
Millicent – Show U Up
Wen ft. Riko Dan – Play Your Corner (Kahn & Neek Remix)
Novelist x Mumdance – 1 Sec (Smokey Bubblin’ B’s 2 Step Mix)
Zed Bias – Chokehold
Roxy – Morse Code
Delian Sound – Secrets
Menta – Sounds Of Da Refix
D Base – What The Time?
Delian Sound – Methylene Blue
Danny Scrilla – Real
Van Wilkins – Grime Dub
Delian Sound – Crook
Horsepower Productions – When You Hold Me
Appleblim – Fear
Emrrld – Duppy Pepper Remix