Dab hands and working a dancefloor at their own parties in London, Krankbrother made the jump to a record label earlier this year, with a view to work dancefloors all over the world. For their third release, they look to London newcomer Joe Munday. Moving to London as a student at Goldsmith’s, Joe’s life in music goes beyond floor fillers; being a band member and penning film scores keeps the juices flowing away from the club mindset.
We’re told that his debut EP is essentially made up of “pissed guys playing drums and killing dogs in the jungle”, but if that doesn’t give you a proper feel for it, think live percussions, off-beat vocals and jazzy samples, cemented in a house foundation. Just back from a digging trip in Fes, Joe answered a few questions about his entrance into music, linking up with Krankbrother and what London music means to him.
Joe Munday – Ama’s House EP is out now on Krankbrother.
What are some of your earliest musical memories?
I couldn’t say exactly what the earliest was, but probably either being vaguely frustrated at how anarchic music was at primary school – just 15 kids with percussion and recorders and one teacher – or thinking that B*witched had some bangers, or that the score of Zelda on the N64 was rad.
What prompted you to start making music?
I distinctly remember my mum coming into my room when i was about 12 with a list of all the instruments you could learn at school and she was all “you’re going to pick one” because she’s always been sad she didn’t learn when she was young. Looking back that’s got to be a pretty defining moment.
Your Soundcloud contains tracks that go back four years, with a range of styles and sounds on display. Where would you say you’re at now as a producer, and what do you see as some of the key factors in your development.
I have a few projects going and have done for a while. I produce by myself which usually results in 4 x 4 music like this Krankbrother EP, but I also write and play in a couple of bands which sound pretty different. Plus, I’ve been through art school and done some sound/score for film, installations and theatre etc. They’re all different processes and serve different purposes. Sometimes you don’t want to just sit and try to make floor fillers.
Developing factors for production? Moving to SE London, going to Goldsmiths, seeing the light and changing from Logic to Ableton. But probably mostly just spending more time listening to good music and spending time with the tools. Then when that good idea finally comes you’re in a better place to act on it.
How did you get involved with Krankbrother?
I’ve been going to their parties for a few years and follow them online. I saw that they were starting a label this year so sent them some music. We had a drink and there was a bit of back and forth as to what we’d put on the EP. It’s cool that they’re willing to take a chance on new artists. The releases so far have been great – Jody’s EP was siick and the brothers themselves started things off with some huge cuts of house. Happy to be part of the family.
Being your first official EP, was it more of a collaborative approach in pulling it all together, or were you pretty clear from the start how you wanted to do the thing?
It’s definitely been a learning curve and pretty illuminating in some respects as to how this whole thing works. Kieran and Danny gave me a few mix notes as I have a propensity to just add and add to a tune until all the good bits are swallowed. Other than that they pretty much gave me free reign. We were talking about it for a few months before things were finalised, so there were few options of tunes to go with.
‘Step Sister’ is a bit of a highlight for us. Could you give us a bit of an insight into how you made that?
Hey – thanks! So, In 2013 I went to Ghana to record the sound for a weird and wonderful film about Sakawa – internet, spiritualism and juju. We went to a super theatrical possession/
So yeah, the EP is essentially made up of pissed guys playing drums and killing dogs in the jungle, some cheap analog synths and samples from vinyl. I’m not going to say where the Step Sister sax sample is from because we’ll all get sued.
You’ve been getting some nice attention on 6Music from Tom Ravenscroft. Taking it all in your stride, or are you still like a child at Christmas every time you play it back?
No, that’s awesome. 6 is one of the stations I listen to regularly – well exciting.
With this being a London Spotlight, let’s focus on the Capital for a bit. What are your thoughts on the state of London music at the moment?
It’s amazing. It feels like most nights of the week you can go see diverse, world class line ups in great spaces on great sound systems. Theres quite a lot being written about the closure of iconic dance spaces – Plastic People for example. But decent new venues and dances are opening just as fast. Just got to find them.
Where are some of the places you go to buy, listen to, or just experience music?
If I’m buying records its probably Soho, Peckham or the Internet. Listening – the obvious – NTS, Boiler Room or 6Music. In London – Corsica is probably my favourite club to shuffle around in. Brilliant Corners and Vortex are sweet, Oval Space and Hydra at E1.
Who’s doing good things for London music at the minute you’d like to shout out?
Krankbrother, obviously. Aside from them, I just like the doing-things-well-without-compromise vibe of some places/nights – vinyl only parties/great sound at Rhythm Section, Brilliant Corners, World Unknown, Cafe Oto, Body Hammer.
Are there any up-and-coming, local DJs and producers you think we should keep an eye out for?
I should probably shout my boy Swoon here. He has to listen to everything I make and tells me if it’s shit or not. I saw Binker and Moses last week who were pretty cosmic two piece. Also – self promo – look out for Petricha and Okala in the next year.
Tell us a bit about the mix you made for us.
The most interesting track is probably the first. I’d just got back Fes where I’d done some digging – I was mostly looking for this now shut Moroccan label Casaphone. I found this tune – the writing on the disc is in Arabic aside from ‘Casaphone 338’. I have no idea who the artist is – it’s not on Discogs or anything. It’s such a strong vocal performance over wild drums I don’t get the timing of. I’m into it.
