Paul Hawkins talks with Slowfoot label men Frank Byng and Ben Cowen. Frank is a member of Snorkel, a percussionist and producer and runs the label with Jeremy Wood. Ben is one half of electro outfit 7 Hurtz who released two albums on the Output label. He recently toured with The Sparks doing their visuals, and like Frank, is closely associated with the Slowfoot label as a member of Snorkel and of Charles Stuart`s live band.
We talked about the roots and the journey of the small, perfectly formed south London based Slowfoot label. Slowfoot nurtures, explores and releases music that blurs the boundaries between popular and experimental music. Frank talks, Ben stays impassively cool and I ask about the labels humble birth right up to its flourishing incarnation in 2007.
PH: Frank, so where did it all start?
FB: I was part of a band called Charley Marlowe along with Piers Faccini and Francesca Beard. I met Piers through 129 (Jeremy Wood - Slowfoot artist, producer and MC) and I bought Lucas Suarez into the equation on guitar. We were a culty underground band, played gigs and wanted to release an EP. We had a few near misses with some labels, and decided we would release it ourselves. The this could be you EP was released in 2001. We had no experience of releasing music before and unfortunately Piers decided to leave for a solo career just after it was released, so we ended up with an attic full of CD`s.
PH: Thats bad timing, where did you record back then?
FB: That EP was recorded in my bedroom, it was later we moved to a studio in Bermondsey. So we recorded drums in the toilet, that sort of thing. It was a shame Charley Marlowe stalled, Piers wanted to move on to new stuff. I think he became impatient with our slow progress. He has done really well since as a solo artist and recorded his second album with producer JP Plunier out in America.
PH: And then what happened?
FB: Well, a little while later, Oren Marshall approached me. We had re-released his album Time Spent At Traffic Lights, in 2003 in fact. I first met Oren in 1995 or 96 out in Ghana when I had gone out there to study music. I was studying with The Pan African Orchestra, Oren was playing with a trio as well and was also collaborating with The Pan African Orchestra. They released an album on the Realworld label, it was brilliant concept. A 36 piece orchestra playing traditional African music.
PH: And what was happening with Slowfoot then?
FB: Well, we had 3 or 4 projects on the go and we moved to the studio in Bermondsey. Charles Stuart`s album was started around then in my bedroom. Oren asked if we would re-release his album, which we did, and released another album of his, Introduction To The Story Of Spedy Sponda. It was good to have somebody elses music to work on, a refreshing change. Good to use it as a platform to learn more about running a label. We released that album in 2004.
PH: Ben, did you know Frank back then?
BC: Yes, we go back a fair way.
PH: You were releasing music as 7 Hurtz then? ( they released two albums for the Output label; Electroleum and Audiophilliac)
FB: Anyhow, we put out the re-release, with no fuss. Spedy Sponda was then released.
PH: How did sales go?
FB: Well, Spedy is our best seller which is not bad for an avant garde tuba album. We got a press agent for that one, I have always been in awe of Oren as a musician. He has played with everyone, and when it was released there was buzz - when is Oren releasing his album? ....that kind of thing....
PH: So that helped everyone out, releasing that album?
FB: Yeah, it helped the label, we learnt stuff and it gave us confidence. The Times called it the best avant garde tuba album to be released that year. In the meantime we were trying to put the finnishing touches to the Charles Stuart album.
PH: Yeah, in fact I was talking with Charles before the SLowfoot label gig at The Spitz, he was saying the album was finnished for a while and it just wasnt released there and then.
FB: Yeah, there was a few factors involved...............Charles got kind of caught up in the Oren Marshall and Robert Logan release schedule and the work we put into those. It took him a while to get a live band together and its great that it has finally seen the light of day. I think it sounds great!
PH: It is a beautiful album, the production is so good
FB: Yeah, we put a lot of time into that
PH: Ben, did you play on that release?
BC: No, I didnt, but I do play as part of his live band now.
FB: Charles and I met at college, he joined a performance group I was part of, he got on the piano and I thought.... wow! I am saved........
PH: Charles talked a lot about that in an interview I did with him a few weeks ago. I guess Cognessence, Robert Logan`s album, was next?
FB: That album came about through an old friend of mine, Ivor Guest, who is a producer who had been working with a viola player who was teaching Robert piano. She mentioned him to Ivor, and said that he should go and hear his music. He was blown away and wanted to help him. Ivor discussed it with me and suggested it might be nice to release Roberts album on Slowfoot, rather than a label like Warp, a quiet release, you know? We whittled an album down from 80 or so electronic tracks. Robert had composed loads of songs since he was 11 in his shed or bedroom. Ivor was producing Grace Jones at the time and he pulled Robert in to do some work with her and he collaborated alongside Brian Eno on a film soundtrack.
PH: I have only recently got into Cognessence, it has been a bit of a slow burner. So he has already worked with some very impressive artists, how old is he?
FB: He is nineteen now, and has had some great experiences. He has clear headed talent and is very adept at coming up with the goods. I really enjoy playing drums for him, he just keeps churning out really interesting music. Not sure he knows how to cook an egg mind you.
PH: So, how does Slowfoot go about getting the word out about gigs, news and releases?
FB: Well, we have a press agent, a guy called Jim Johnstone, who has been great. We work with him, adding to what he does. He does a lot of work for the Norwegian Rune Grammafon label.
PH: Yeah, I am familiar with that label.
FB: They do some great electronic jazz crossover stuff. I run a lot of the Slowfoot emailing side of things too.
PH: Does that take up a lot of time?
FB: Yeah, a hell of a lot of time! I have had to learn how to do that really, I am not naturally prone to big up and push my own material, it works ok though.
PH: Jeremy (129 and Slowfoot label man) was unfortunately not able to make it today. He runs the label with Frank.
FB: Jeremy and I go back a long way, we played together in our first band, when we were at university together, a stoned mess called Lunatic Picnic (laughs)......we cut our teeth with that band, Jeremy introduced me to Eno, Laswell, that kind of stuff. We listened to a lot of stuff then.
PH: What music were you into at that time Frank?
FB: Well, The Stranglers, The Damned, the post punk stuff and then Gong, of course, and the hippy student trail vibe. Jeremy got me into Soft Machine. Still one of my favourite groups of all time. We checked the whole Bill Laswell New York scene, he was bringing so many different styles together. Laswell opened the doors to all that for me; funk, improv, jazz, drum and bass. Not all of it is good, but the ethic of bringing together those varied styles I think lives on in what we do at Slowfoot. Jeremy has a career in Fine Art, he teaches and works on installation projects. So he deals with all the artwork side of the label.
PH: The artwork is really nice on the releases, a lot of thought and work has gone into it. He writes music as well, doesnt he?
FB: Jeremy plays under the name of 129. He has an album on the way, its quite a surprising record. He suddenly emerged to me as a vocalist/lyricyst. He does stuff, keeps it quiet and then presents it, I was like (laughing) "fucking hell, did you do that?"
PH: A Slowfoot release then?
FB: Yeah, its got a hip hop feel to it, and a 80`s electro feel, along with an Eno-ness. Probably a release for next year.
The Slowfoot label is basically Jeremy and I. Ben Clarke left at the beginning of the year. We realised that we didnt really know what we were doing on a business level really. We needed to sort out these different projects, get the music done really and tie up the loose ends.
PH: Yeah, the pop industry artists always reminds me of hundreds of tins of value 7p cans of baked beans, and the real good shit, the top notch organic Whole Earth beans are labels such as yourselves, whose primary drive is to create innovative music, regardless of the business plan and projected sales figures, buying on tour fees and ringtone revenue. The industry has its business plans, but its music is mostly shite.
FB: Well, we try to be true to ourselves, although our music isnt for everyone.
PH: So what's cooking at Slowfoot?
FB: We have an album by Crackle going out soon, that`s Nick Doyne-Ditmas and I . He currently plays in Shape Moreton and with Charles Hayward, that album should be coming out October time. We have a vinyl Robert Logan EP finnished and soon to be released. Jeremy and I have a project called Invisibles, which takes us back to doing computer based stuff with samples, we have an Invisibles EP coming up, with Ben, 129, Charles, they are on it. There is plenty going on.
PH: Cool, I am looking forward to hearing those.
We call it a day and switch off the mini disc player and we go our seperate ways. The Slowfoot label is releasing some very cool electronic timbre tones and rumble ringing soon. Albums that will cause involuntary limb shudder at beautifuly inappropriate moments.
Check out all their artists, gigs, releases and more at Slowfoot.
Snorkel studios is the home of Slowfoot records but is also available to hire for project recording and production work. For more info contact Frank on : (+44) 7813 930 645
Join our myspace
Paul Hawkins has been interested in popular culture and music, protest and survival for as long as we can remember. He began writing about things, making music and other noise at an early age. Paul has interviewed musicians, writers, poets, protestors and artists.
about Paul Hawkins »»
Outsideleft exists on a precarious no budget budget. We are interested in hearing from deep and deeper pocket types willing to underwrite our cultural vulture activity. We're not so interested in plastering your product all over our stories, but something more subtle and dignified for all parties concerned. Contact us and let's talk. [HELP OUTSIDELEFT]
If Outsideleft had arms they would always be wide open and welcoming to new writers and new ideas. If you've got something to say, something a small dank corner of the world needs to know about, a poem to publish, a book review, a short story, if you love music or the arts or anything else, write something about it and send it along. Of course we don't have anything as conformist as a budget here. But we'd love to see what you can do. Write for Outsideleft, do. [SUBMISSIONS FORM HERE]