It was a sunny day in London town and in one of the warehouses there was Thoma Bulwer’s recording studio, where we planned our meeting and do an interview. When I came there, it was a very cosy studio with loads of synths and equipment that probably every geek would want to touch it (Including me). However, Thoma still had to do some stuff with music but after a couple of giggles and laughs, we started our interview.
- So Thoma, I was scrolling through your biography and I found this interesting phrase, which says “Raised in techno, schooled in UKG, cemented in house”. Could you expand on that?
- I was born in the Holland and grew up in Belgium. I started going to techno clubs and venues like Fuse in Brussels when I was 14 years old. Every weekend, I had the opportunity to watch the biggest techno stars like as Derrick May, Jeff Mills, Derrick Carter, and others. I began visiting my relatives in London in 1999. When I moved to London, I began collecting tapes and recording radio stations, as well as purchasing records from vinyl shops; at the time, garage music was highly popular in the city. Having said that, I ended up bringing and pushing urban music back to Brussels and began DJing in clubs and warehouses at the age of 14.
- What about ‘Cemented in house’ thing?
- When I moved to London when I was 17 years old, UK Garage developed (or changed) into Grime and I decided to put that aside, because it wasn’t the genre where I started from and eventually I got into House. I was always into House music because UK Garage evolved from House, right? 2000s were the years where I began to get into the House and play all over the London and Europe as well, so that where it all comes from.
- Let's talk about your production. I was listening to some of your older tracks, about 5 years old, and noticed that they had a more minimal sound. Obviously, there was a huge Ro-Minimal and Minimal movement in London in 2016. However, with your most recent EP, you've returned to Garage House?
- Yeah, that’s right. It leans back on my musical influences, and it was first played as a test at the Houghton Festival, where the tune ("Speed Garage From Jupiter") kind of blew up, and the scene in which I'm involved calls back to those different genres. I'd say it has a minimal element as well, but it clearly has a UK angle to it. Having saying that, I like to keep things fresh.
- Okay, so you mentioned that you want to keep things fresh, and you mentioned that Garage music emerged in the 1990s. Now that we're in a 90's revival, did you do it on purpose to adjust to the current trend, or did you do it unconsciously?
- To be honest, I think a little bit of both. You start to see these German labels trying to recreate two-step records (laughs), and it reminds me a little of myself. I've never removed garage influences from any of my tracks, such as skippy drums and two-step breaks. But it has surely become a close friend today because it is a part of my DNA.
- And also it is a perfect time to shine as a Garage music DJ…
- Absolutely. It is really nice to have a Garage only sets and showcase that part of my collection as a DJ.
- So, I’m assuming it is necessary to keep with a current trend, in your opinion?
- I think it's important to have your own style in whatever you do, and I believe that the way I would approach writing an EP for a 12-inch label, which is what I generally do, is to have various tunes on a four-track EP for different times of the night. Some are deeper, while others have more breaks. That being said, I like variety and prefer to work in this manner.
- Do you think you have or recognise your own signature style?
- Yeah, I think it definitely comes through my drums, with a signature step rhythm that's kind of intrinsic in all of my tracks, whether it's four on the floor or more garagy, even if it's more minimal, those skips in the hi-hats would be synonymous and would be calling to all those influences, but it can all be related to the blueprint of Garage, if that makes sense (laughs). So there is certainly a thread. But I like to see it as a collage or tapestry of different aesthetics with 90’s or 80’s production techniques.
- From my experience, many artists nowadays struggle to recognize their own distinctive style. So, what are the characteristics that define an artist's signature style? Okay, you mentioned drums and aesthetics, but do you believe these are the only things?
- I mean, almost. It was always a thing for me if I put a record for 2 seconds and knew who it was, that was always something I aspired to. And, to be honest, because of electronic music, it comes largely from the drums. However, it might also be the placement, stabs, vocals, synths, basslines, or whatnot.
- Yeah, but these are more like a technical things…?
- Yes, but for me, a production is a set of techniques performed creatively. Writing records or producing records is similar to an athlete who is in a gym or an arena, throwing a ball into the back of the net, I'm not sure what sport it is (laughs), but... Refining his muscles. Or, like a painter, who paints every day, developing their skill, even if only one out of ten paintings are sold, or, in my case, one out of ten tracks are published, and this is where you refine your technique by recycling your material.
- Interesting. Let's now discuss the creative process. Do you know which direction you want to go when you go to a studio or do you let yourself go?
- I most definitely do. "Write drunk, edit sober," is how I approach making music. That doesn't necessary mean you should get smashed, but the idea is that when you're writing, you should be loose, don't care, and simply come up with a lot of ideas. And the next day, when you're fresh, begin editing and arranging. However, when I'm working on a release for the label, I like to know where I'm heading, and I really appreciate working with a label A&R to create a record and get everyone behind it, which, in my opinion, produces a stronger outcome in the end.
- Do you consistently evolving your individual style or seeking for something new?
- I think it is a mixture of both. I like to add a lo-fi, vintage aesthetic and style into my music. But, instead of rotating the same thing over and again, you're going to try new synths and new sounds that will evolve your productions and hopefully make them better every time. I have a lot of respect for certain artists that stick to their own style, which I believe is a good thing since consistency is very important. But I also like the idea of offering something different.
- Back to DJing. Do you think Artist/DJ should play the same genre as he producing?
- To be honest, I believe it's incredibly inspiring to see DJs play different sets since it allows them to go deep into their collection and showcases the depth of their knowledge and skills for different occasions. For example, during the Houghton Festival, the same DJs may perform three different sets, each of which might be completely different and I massively respect that. Also, I think it paves the way for new genres to appear on the spotlight.
- Last question. Hypothetically, Is it possible to craft your own style without listening to other people's music? For instance, you know how to make house music but somehow you haven’t heard any record…
- I'm not sure whether that's the case, because I think that certain production techniques give birth to a variety of musical styles. You can't produce an acid record without a Roland 303. You can't produce an old school hip-hop record without MPC, or a house or techno record without 909. You can, but it won't be legit, if that makes sense.
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