But how does one stand apart from prevalent trends? Is it by rejecting all elements that bear similarity to one’s contemporaries? No, such a reactive stance will inevitably harm the work being produced. Working in exclusive accord with one’s own sensibility is an approach more conducive to innovation. Released last year, Colonial Patterns is the debut LP from Huerco S. and itdisplays an artist unfettered by what’s being done elsewhere.
“I wasn’t really aware of what’s en vouge,” says the man behind the moniker, Kansas City native Brian Leeds. “I simply knew what I wanted and tried to have fun with the project.”
Thanks to Leeds’ committed cultivation of intricate sound collages, Colonial Patterns successfully thwarts the often-rigid structures of techno and house music. The record is distinguished by a nuts-and-bolts production quality and it builds impressions of rural desolation and humans’ manipulation of nature. For starters, the album title brings attention to the way that colonisation essentially enforces standardised patterns of living. This presages the album’s focal sonic tension, which emphasises the sour relationship between nature and industry.
Despite the record’s singularity, Leeds says he wasn’t looking make a radical departure from genre norms. “I think it’s only natural for any artist to want to explore. It’s not like I was tired of more straightforward music, I just figured if someone was going to give me time to make an album I was going to make an album-proper.”
Leeds’ use of the expression “album-proper” implies he wanted the record to be an all-encompassing, multi-faceted experience. While Colonial Patterns could be deemed avant-garde, it’s certainly not a noisy experiment. The record stems from conceptual foundations, which surely demanded a high level of discipline during the construction procedure. However, Leeds says he didn’t punish himself in order to reach this destination.
“I would never consider music to be a laborious task. On the contrary I was just trying to have fun. The album is a mix really: a handful of tracks were made relatively fast and in a few takes, whereas others definitely sat in the folder for months marinating. I can work a track to death, but after a while I think I lose the initial spark that drew me to it in the first place. So brevity and spontaneity are really important to me.”
There’s a range of ways toexperience Colonial Patterns. When heard without any distractions, it proves to be an engrossing aural experience that transports one through scenes of urban decay and rural desertion. The record also nominates itself as apt soundtrack music.
“It can be both,” Leeds says. “I certainly don’t want to limit how someone can view it. As long as people are interacting with it I don’t mind. To be honest I personally can’t wait to work on a soundtrack or score for film. So if there’s any film makers out there looking for music, you know who to hit up.”
Huerco S. arrives in Australia this week for a series of club shows (including Melbourne’s Lounge on Saturday night). While Colonial Patterns is a brilliant soundtrack experience, it doesn’t exactly lend itself to the club environment. As such, the Huerco S Australian dates will be DJ gigs.
“I don’t do live shows any more,” Leeds says. “Maybe I should, everyone keeps asking. DJing is way more fun in my opinion. “If I were to play a live set I doubt I would be getting many offers for clubs, which is fine with me. I’d rather play somewhere that people can fall asleep.”
So will he be spinning any of his own tunes? “During DJ sets I have people asking me to play my own music, but I never do – the thought never crosses my mind. I once had a guy come up to me after a gig who was saying how he was disappointed that I didn’t play any of my own music. Can’t win them all.”
Nonetheless, given that Leeds is responsible for such fascinating music, his tune selections are likely to be a source intriguing substance. While he offers no spoilers, he promises to gauge the mood of the audience, as well as illustrating his own uncompromising propensity. “You can’t just go in and beat people over the head. To me a good DJ has to blend the two.”
It might seem strange that Leeds has stopped performing original music but, simply put, touring is a necessary task for musicians to earn a living. It’s hardly surprising to hear that occupying the stage isn’t his preferred engagement. “I’m definitely a homebody and I’m not going to lie I always get nervous before gigs. But without the gigs I’m a broke man with nowhere to be a homebody at. The gigs are secondary for me. I know that may sound bad, but I always enjoy the travel and meeting people more.”
BY AUGUSTLY WELBY
