Words by Art Jefferson
Photography courtesy of Marcel Lune
Although semi-new in the scene, Bristol’s Motz Workman, known under the moniker of Marcel Lune, composes tracks with the skills of a well-seasoned producer with a tenure of two decades under his or her belt. Crafting foward-thinking rhythms encompassing soul, broken beat, 2-step, jazz, house and Hip-Hop, his music has enticed the ears of Gilles Peterson, Rustie and Addison Groove, just to name a few. Having released EPs on labels such as Studio Rockers and Audio Dougnuts, his songs are true audible voyages, ripe with change-ups and intricate arrangements. In fact, Marcel Lune can be considered one of the leaders of the new school generation continuing the progressive sounds laid down by acts such as 4hero, LTJ Bukem and Bugz in the Attic. With his debut LP Sounds From The Desert Gully set to turn the world of electronica on its head, Marcel Lune is a true musical genius whose songs are representations of what the future sounds like.
Tell me a little bit about your musical background and roots.
Marcel Lune – Well, I definitely come from a place in music where a lot of emphasis is put on the low frequencies. My mum introduced me to reggae/dub and a lot of ‘world’ music from her vinyl collection when I was very young. I had played the bass in a couple of funk bands before giving a go at producing too.
As someone who was a DJ of broken beat and future jazz years ago, I was thoroughly happy to hear your production which, in my opinion, maintains a high level of sophistication that was found with acts like 4Hero, Jazzanova, etc. Who were some of your musical influences growing up?
Marcel Lune – Thank you! Well, there was definitely quite a few influences whilst growing up in terms of genres and what inspires my music. It seems that my youth was mainly just a phase of discovery really of all the possibilities that would eventually inspire my own work. Influences really spanned from jazz to drum ‘n’ bass to even metal (at one point.) Ha. People like King Tubby, Scientist and Augustus Pablo definitely played a big part when I was very young. Then the progression went on to listening to people like Marvin Gaye, Miles Davis and Sun Ra to name a few. I basically have my mum to thank for introducing me to such a rich, in depth introduction to music.
How did you link up with Studio Rockers? That label has definitely released some of the finest, cutting edge electronic music over time.
Marcel Lune – Ah, well basically I just sent the label some tracks over to their A&R department and I ended up getting a response and things just really started moving off from there really. Haha, I feel like this story needs to include aliens or something, make it a bit more epic and all.
Your self-titled EP is currently out now, with your forthcoming album ‘Sounds From The Desert Gully’ landing in July. I have to admit that I was blown away when I heard the LP. What was the process like with recording the album?
Marcel Lune – The recording process never really has a structure to it, I find I have tendencies to do certain things in my production like always seeming to gravitate to some kind of off kilter beat as well as trying to give the track some swing to it. But I find that if I try and tell myself I want to make a concept album or something, or have a particular sound or idea in mind, I just get frustrated when I find out its quite impossible for me to convey that exact representation. So I tend to find I opt for a more experimental/organic approach and just let the beat and the melody just unfold naturally.
In terms of production gear, what are some of your go-to pieces?
Marcel Lune – Well, for most of the leads and bass lines etc., I have been using the new Moog Sub 37. What a piece of kit! I also use the old Microkorg for a lot of pads as well. Plug-in wise, one of my favourites has got to be the Fab Filter Twin 2. The portamento on that synth, I don’t think I’ve ever heard notes glide as nice as they do on it.
When producing a track, how do you normally start the process? Do you begin with the drums first and then work around them or do you start with the melodies of the track and build up from there?
Marcel Lune – Well, I used to always start of with the drums, no question. But as of recent, I’ve really been trying to work on the melodies and structure of the track a lot more so I have been coming up with chord progressions as of late first, then I will make the drums separately a lot of the time and hope that they will fit together well after. Haha. Ive been learning how to play the piano over the last year or so, so I hope that it kind of shines through a little on this album; the musicality aspect I mean.
Last year you played at the Audio Doughnuts night in London which featured Chicago legend Roy Davis Jr. How was that experience?
Marcel Lune – Haha, pretty incredible to be fair. Mac and Pasteman were also playing that night. Roy Davies Jr. ended up having issues with his headphones so ended up borrowing mine in the end. Haha. Was talking to him, and sounded like he had a crazy few days after that show, flying over to Ibiza for the next day to play a show, then back to London to play Fabric that same night. Strung out to say the least!
What do you have lined up for the next few months?
Marcel Lune – I will be working on as much production as possible really as well as engineering for a company called The Music Works. I have just started shadowing at a professional recording studio also. Which is cool. And I’m also hoping to play out a lot more this summer!
https://www.facebook.com/marcellunemusic
https://soundcloud.com/marcellune
http://www.studiorockers.net/
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