Marshall F is the latest import to emerge out of Bristol’s large pool of bass makers. Starting his career of as producer and engineer, he also happens to be the latest signing of Britain’s favorite indie imprint, Black Butter Records. Combining influences ranging from ‘80s and ‘90s Chicago warehouse music, modern UK garage sounds and percussive funk beats, Marshall’s debut label release, ‘Money Waster’ is one you do not want to miss out on. With a remix from Zed Bias to compliment the other two original tracks, this EP will have dance floors rumbling to sonic bass sounds.
Magnetic caught up with Marshall to talk about his release, what Black Butter really is and more.
Tell us a little about yourself? What were you doing prior to music production?
I’ve been involved with making music since I was about 14 so it’s hard to remember anything previous to that apart from riding a bike. I was in various different bands as a teenager and started writing dance music when I went to Manchester to study Sound Engineering. Then I moved to London and worked at various studios for a few years until I started getting my own work as a producer / engineer.
How did you come in contact with Black Butter Records? Do you like real Black Butter? What does it taste like? Can you eat it with anything? Is it better than Black pudding?
I’d heard a lot of the early output from Black Butter and knew it would be the perfect home for the project so approached them about doing a release. Never tasted actual black butter but I’m pretty shit at cooking and good at burning things so give me a pan, some butter and five minutes, I’m sure I could knock some up.
Explain the name of your EP, ‘Money Waster’? What do you like wasting your money on?
Most people have got some usually pointless vice that ends up becoming a money pit, so it’s about trying to get away from material traps that stop you from focusing on more important shit. Mine tends to be studio gear that I use once in a track and then it sits gathering dust for years.
Bristol’s bass music scene is very well renowned and you guys have been releasing some big smashers recently. What is significant about the scene that this can be attributed to? Any producers you really like?
Bristol’s musical background has always revolved around bass, early reggae and dub scenes, drum and bass, so overexposure to low-end ends up influencing the way you create. Woz is the most exciting Bristol export of the moment to my mind.
It’s an interesting trend, especially in the underground scene. A lot of producers will give a track a lot of credit initially because its, ‘not mainstream, it’s different, sound of the future’- whatever you want to call it- play it out until it saturates, and then everyone starts to hate on it. What do you think about that?
It’s easier for someone to say something is shit than it is to seek out something new and explain why it’s better. Especially when it deemed as being ‘popular’. People who have enough time to hate on shit aren’t working hard enough.
We see something similar happening with dubstep, particularly in the UK. People aren’t really feeling the noisy stuff nowadays, are they? It’s all about reviving bass music and creating more spacious groove based sounds- early dubstep, stuff like, Skream and Mount Kimbie. What are your thoughts?
It’s all about sonic cycles. When a style that has relied on harsher tones and hyper editing as part of it’s style it’s only natural as an antithesis to that, that people who want to hear something ‘fresh’ are going to gravitate towards the polar opposite: warmer, sparser, deeper and simpler sonics and arrangements. It’s been happening for years and will continue as long as people crave ‘difference’. I believe the only problem is that the cycles are getting so short that there’s no career time for most artists within that style to creatively master it.
What if bass didn’t exist? What would your life and music be and sound like?
Your remix for Scrufizzer’s ‘Kick It’, tell us about that one. Hip-house is such a cool concept for a genre, lots of grime influence in there.
Thanks. It was good fun to do it, Scru’s flow on there is sick it reminds me of old hip house style, so I wanted it to have a chunk of that vibe in there with some early 4/4 garage flavors in as well.
What’s the future looking like? Are you going to tour North America soon?
Working hard in the studio on new material for BB and no plans on touring as yet, maybe in the New Year.