The Loview’s debut work “Dreamtempo”, is an album whose tracks hold a larger purpose or meaning collectively than they do individually. A blend of lofi beats, diverse samples and field recordings that will take your head to a 43 minutes trip, in places it never went before.
- Please introduce yourself
Firstly thanks for the feature. My name is Ash, and the project name is ‘The Loview’, and for a bit before that ‘Loviewer’. I decided to change it to the Loview because people told me they thought it was pronounced ‘Lovie-wer’. My instagram handle is still @loviewer, so I’m kind of both I guess.
- Describe your sound in 3 words
Whimsical electro psychedelia.
- Which are your major music influences?
King Tubby, Luke Vibert, Quantic, Dirty Art Club, Dilla, DJ Shadow. There’s too many
- What is your favorite album of the past year?
That’s a tough choice. I think I’d have to go with Kate Tempest’s The Book Of Traps And Lessons. (With Dirty Art Club’s Gardens a close second!)
- You use samples extensively. A few decades ago, DJ Shadow released his seminal work “Endtroducing…..”, the First Completely Sampled Album. Today, there are platforms offering sound recordings in a netflix style subscription-for-access model. How do you think having such an easy access to samples affects the quality of produced music?
That’s a good question. I actually use Splice quite often which is one of those services you mention, and I do feel there is a laziness to it which bothers me, but I also don’t think it affects the quality all too much because it doesn’t change the intention and the composition. Sometimes you need a sound and it could take you a few weeks to locate it on a record. So being able to search for sounds in the moment is handy. But maybe then you end up spending longer processing the samples to fit your track, making it sound unique. So I dunno, it’s a bit of a can of worms. There’s definitely that romantic notion of Donuts, Endtroducing etc being made with only sampling records, and that as a process is really interesting to me, and something I want to try, the technical feat.
- When it comes to live perfomance, is realistically Electronika a genre that can be performed live?
Absolutely, I’ve seen some incredible live electronica before. Tim Exile is someone I’d recommend for a really dynamic live electronica show. Currently I’m not performing live because I use Cubase to produce and I need to migrate stuff across to Ableton or something, but at some point I want to. I also think trying to recreate electronically composed music with a live band is an interesting idea, and would probably be more fun, for me at least as I’m a drummer by trade. And I wouldn’t mind creating something different for a live show, I think that’s more interesting for an audience anyway.
- In which place or state of mind do you imagine people might listen to your music?
Another good question. Damn! Probably before they sleep or some place where they can really tune in. Maybe they’re travelling but travelling home as opposed to starting a journey. Or they’ve just run a bath.
- Which book should we read while listening to your album?
You should read Ernst Haeckel’s Art Forms in Nature
- One last thing we should know about you?
I started a label called Mother Night Label this year and have a chillhop project with my sister called Baby.Girl. Looking forward to releasing some more music later in the year.
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