‘Jon Gooch meets Feed Me’ in a wonderful new album Calamari Tuesday
Interview : Dan Prince
Jon welcome back to DMCWORLD – where in the world are you right now?
“England, North London in my house in a big chair that reclines really far.”
Huge anticipation regarding your new ‘Calamari Tuesday’ album released through your new label Sotto Voice on October 14th. Before we get into the music, can you explain the title?
“One of the strangest travel experiences of this year was on a flight to Bermuda. I was seated opposite a woman in business class who was dependent on a constant supply of oxygen and appeared to be older than time itself. I watched her be helped to her seat and fall back into it, exhausted. She stared intensely at me for hour after hour with a cold unwavering gaze, and as I looked back I felt drawn into it, until a desperate feeling took me over and I slipped from consciousness. When I woke up she had gone, her seat empty as if she had never been. I rubbed my eyes and asked myself if it was a dream, until a flier fell out my top pocket. On it was a pinup girl, the same woman but younger, and she was holding a sign. I unfolded the paper to reveal what it said – it said ‘Moe’s Diner’. Then we landed and later that night I made up the album title for no reason.”
What a brilliant tale! This is your first full length album representing a journey through various styles of music. Please can you talk us through the long player track by track…
“If I did that I think you’d get bored. Hopefully they speak for themselves. I don’t really stick to a style or tempo, I kind of trust my style to emerge through whatever format I’m working in just based on the mindset I’m holding and critical decisions I’m making. But yeah hopefully it reflects my lifestyle and experiences over the past couple of years as a whole.”
I know artists hate this question as they are all your babies, but what track are you most proudest of?
“‘Lonely Mountain’ on the album took a few years all in. I had a lot of ideas that span off original concept so over time it became what I now see as a four section mini-opera. To me it’s the track that defines what I’ve been trying to do in one go the most accurately. Maybe one day I’ll beat it and collapse in on myself like a tiny black hole or something.”
During an interview with Pete Tong you explained that creating your first album was something you had to conquer on your own. How long has ‘Calamari Tuesday’ taken to create and did you enjoy the process?
“I guess years in a sense that a couple of the tracks were planted as seeds two or three years ago, the bulk of the work was done this year though, basically intensifying as I pulled things closer together engineering and concept wise and it started to look like a story.”
What happens when you get writers block?
“I can’t really remember when this last happened – if I feel less inclined to write something original then I tend to work on making sounds or effects to archive and use another time, or just work on something visual. Life’s too short to get writers block.”
A marvellous 20 date US tour earlier this year. You more than anyone must be able to reflect on how the dance music scene is over there right now. A huge EDM explosion, now the clubbers finding out about house and trance…how open minded/educated did you find the clubbers out there this time round?
“Doing my live tours out there has been the most rewarding experience of my life; it’s my own show, design, and music – to me it’s telling an audio-visual story which I can shape and control, which is a dream. Almost all of the wider American dance music scene I find completely horrible – I’m not a big fan of much of the music at all, or the style of many peoples sets and a seemingly constant need to play all the biggest or loudest tracks in endless succession. I moved into the more electro end of production to open up the ability to use more dynamics and time in my music, and part of the trade-off from the ensuing explosion has been watching less and less of these factors used as the chase to the top becomes a sonic arms race. Having said that, the fans and the audiences are lovely. I’ve met nothing but enthusiastic, hopeful and open minded people who are there to have a great time and look after each other, and that freshness of attitude is something I think has been obscured a little in the UK over time.”
Favourite and worst US city?
“I really enjoyed Chicago and NYC this year, I’ve spent some good time in both now and I really like the cosmopolitan nature and architecture. Philadelphia at Made in America festival was a big highlight too. Omaha Nebraska did its best to suck my humanity out through my ear with a straw. There’s a terrifying giant metal man whose head slowly turns and a permanent horizontal 50mph wind. Everything is concrete and the proceedings are overseen by the looming Woodmen cult building. I had some nice Mexican food there though.”
The live show your immense light and laser show and production that accompanied your festival shows at the likes of Fuji Rock, Exit and Reading/Leeds. For our readers dotted around the world who haven’t witnessed this incredible show talk us through this visual treat…
“It’s a 30ft x 10ft Metal set of teeth covered in custom hand made LED panels. This setup and the backing lighting and screens is linked to Ableton via custom software written in Max for Live & DSP. Basically all the lighting is full connected to the music and each track has its own assigned story. Filters smash or distort the visuals and an extra channel lets me layer more lights or trigger other movements. It cost as much as a house, took a long time, weighs two tonnes and I wouldn’t change it for anything. It’s been the most amazing experience, something I’m really proud of. It was built in conjunction with Studio Rewind and Sober Industries in Holland. Should also shout out my tour manager Ash Brown and crew who have put a lot of blood and sweat into making it work all over the world.”
Favourite festival story of the summer?
“I saw a 7ft glass hotel door shut on my tour manager and explode while he was talking. He didn’t even flinch. I got lost backstage watching the Killers and was directed into their car by mistake. I got back out. I took 14 friends dressed as pirates to Creamfields to celebrate my birthday. David Blaine did some magic for me and Nero in Philadelphia and also ate a wine glass. Any show where I get to operate machinery or vehicles backstage always makes the list too.”
What is on a Feed Me rider back stage?
“There’s always bloody hummus and salsa, either someone else drunkenly eats it or I end up throwing it at something I never want to see another pot again. What was I thinking when I added that and why hasn’t it changed”
You were once asked ‘Is producing other artists something that you’re planning on doing more of from now on?’ You answered…”Not particularly, I’ve learnt over time that it has to be the right person.” Who has not come up trumps in the studio that made you say that…”
“I find I can normally feel quite quickly if there’s a good energy in the studio and the person is really engaged in producing something great. Example was great to work with. All the vocalists and contributors to the album were people where we hit it off and the track was a natural evolution. I don’t really like collaborating much, I’m alright on my own, so it’s got to be interesting.”
Okay let’s find what rocks Jon’s musical world…
The record that always makes you cry?
“Skid Row – 18 & Life.”
The record you always do at karaoke?
“Kate Bush – Wuthering Heights. At karaoke or just while I’m making coffee or chasing down a small animal.
The big dance record you always jump up and dance to at a wedding?
“Any Fleetwood Mac. I wouldn’t do that though. I did mosh a bit at the I Am Legion show last week.”
The record you wish you’d have written?
“Moonlight Sonata. Or Idioteque.”
The piece of vinyl you will never sell?
“Capone – Tudor Rose, on white label.”
Your favourite ballad?
“Queen – Love of my Life / You Take My Breath Away.”
The album you would play on a Sunday to chill out to…
“Sigur Ross – Agaetis Byrjun.”
And…the record you are most proud to have created…?
“Probably this new one.”
Not many people know this, but Jon Gooch is really good at…
“Arson. Only kidding, I always get caught. I’m very much into motorcycling though, from watching GP, WSBK and BSB to riding track days and modifying my bikes. I currently have an RSV4, MV Agusta F4 and a GasGas 250SM.”
Did the world always appeal to you?
“I never intentionally set out to DJ, I got more or less forced into it at Renegade Hardware. I didn’t expect to enjoy being out there but it grew on me quickly and now it’s something I find really enjoyable. The surrounding world has its pros and cons. It’s not particularly hard to be quite good at DJing providing you can follow some basic rules and concepts, especially now that some software has removed the possibility of mistakes. This means lots of wasters do it and get paid.”
And finally, the album is released on your new album Sotto Voce which means intentionally lowering the volume of your voice for emphasis. It’s a hushed quality to have! Why did you choose the name…?
“As a reaction to the brash nature of a lot of what surrounds me, and to place emphasis on a mindset that isn’t obsessed with louder is better. It’s the moments in between and the careful attention I want to place emphasis on. I don’t have any genre related goals for the label – just musical ones.”
FEED ME
‘CALAMARI TUESDAY’ (ALBUM)
SOTTO VOCE
RELEASED 14 OCTOBER
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