Let’s Go Somewhere Quiet: Colin C Pt2

Second part of the interview with Colin C, who’s appearing on the Let’s Go Somewhere Quiet album in which we learn about Jolt cola and the influence of the Poppies.

4. You’ve started to work on film soundtracks. Do you see that as something on which you will focus more and more in future?

My younger brother is working on becoming a director, and he needed someone to score his short films, since people have always told me that my music lends itself to the cinematic, I gave it a go. I ended up really enjoying the process due to the fact that the traditional “rules” of song structure and progressions don’t always translate to moving picture, allowing me to really experiment and do things I couldn’t get away with if you were to just sit there and listen to it alone. Clint Mansell is a big hero and influence of mine, starting with Pop Will Eat Itself and moving into film score, it’s something I could see my own self going down one day. For now it’s just another piece of the whole musical picture, but yes, I’d love to eventually score a whole film.

5. You started making music at 17, releasing your first album in 1998. What do you think your 17 year old self would make of what you’ve achieved?

I’ve always wondered what it would be like to go back and pick my teenage self up off my old PC, using Jeskola’s Buzz and my shitty Yamaha keyboards and bring him to my studio now for a listening session. I’d imagine he’d be happy to learn that all those nights of not doing homework and drinking Jolt cola trying to figure out how synthesis works had been put to good use! Being able to tell him stories about meeting some of the people who’s albums and work had blown me away back then would be quite fun, especially BT, Martin Atkins, Giorgio Moroder and Danny Saber. If anything, I think it would be good fodder to help push me out of any creative slump to see my teenage self impressed with the studio and the current work I do.

6. Why did you agree to be part of Let’s Go Somewhere Quiet?

Well, part of it has to do with what I set out to do in 1998-99. I wanted to get my music to people’s ears, and MP3.com had let me do that without a label or management. Did I reach as many people as I could have if I toured on a major label’s record contract? Obviously not. But the bigger benefit was that I was in control of my output and what I creatively wanted to show people, which ultimately shaped who I am today. This is why I do things like “Adjustments” (free to download compilation of remixes I’ve created), so the idea of a charitable compilation is just another way of giving back a piece of me. Who was it that said “you gotta give to get”? [errr… El Perro del Mar] Well that’s how I feel about music, it’s never really “mine”, it’s just another piece of the collective consciousness experience we are all a part of.

Sasha – Cut Me Down (Slighter’s Rebuilt Dub)

~ by acidted on June 19, 2012.

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