Ben Westbeech talks soul, Strictly Rhythm & UK funky

Ben Westbeech talks soul, Strictly Rhythm & UK funky

20 September, 2011 | 7.45AM

• Written by: Beatportal
• Filed under: Music News: ben westbeech, georg levin, henrik schwarz, motor city drum ensemble, strictly rhythm

Four years after Ben Westbeech released his debut album on Gilles Peterson’s Brownswood Recordings, he’s back with its followup, There’s More to Life Than This. Released on the iconic Strictly Rhythm label, it’s a soulful, melody-soaked set that’ll fit the bill from Friday night ("Something for the Weekend") all the way through to lazy Sunday mornings ("Summer’s Loss").

The album features a host of talented collaborators including Henrik Schwarz, Motor City Drum Ensemble, Georg Levin and Chocolate Puma, but it’s a remarkably coherent listen. From the uptempo tracks to the downbeat cuts, it’s warm, melodic and deeply engaging—in part because Westbeech’s voice has never sounded better.

We caught up with the artist to ask him about the making of the album; read on for the interview.

Ben Westbeech, “Something for the Weekend” [Strictly Rhythm]

First Welcome to the Best Years of Your Life, now There’s More to Life Than This—it seems like the title of the new album is intended to create a sense of continuity from the last. What inspired those ideas? There’s a kind of wry, world-weary quality to them.

Yes there was a definite sense of continuity, as with everything I do. It was inspired by me growing up. I was 30 this year, and a lot has changed since the last record in my personal life, and this is reflected in the title. I think in this day and age we are so consumed by our jobs and money, etc., and I like to think that the title makes people stop and think about what they are living for…

How long have you been singing? Did that come before you started DJing and producing? Was there a point where the two worlds felt separate, or was it always natural to combine them?

I have sung all my life, in choirs and classically, but it was when I was 21 that I started singing on my records. I started producing around 19 and I had no intention of combining them. It was a chance meeting with producer Red-Light that started me singing again. I had always just wanted to be a producer and had no intention of becoming a singer!

Who would you say your greatest vocal influences were? You definitely have a very classic sort of style.

My influences range from D’Angelo and Chuck berry to Kurt Cobain and Nina Simone. I guess it’s a soul thing I’m into, with a hint of jazz and even a bit of Tracy Chapman on this record! I take influence from so many people at different points and listen to a lot of different music all the time. I’ve never stood in one place musically, and my influences mirror that.

Ben Westbeech, “Falling” [Strictly Rhythm]

You’re originally from Bristol, right? How would you say that the city affected your musical development?

Bristol really shaped a lot of what I do. Mainly on the first record, less on this one, but it will always remain with me. There’s just something about Bristol that you cannot put a finger on! I lived there for eight years at the height of the drum and bass scene and am good friends with Die, Krust and Clipz (Red-Light). I continue to work with them and we are all real good friends.

You worked with a really wide range of collaborators on the album—Chocolate Puma, MCDE, Midland, Henrik Schwarz, Georg Levin… Could you tell us a little about those collaborations? Who did what, exactly? Are the featured artists credited as producers, or did they all bring different things to the table?

Henrik Schwarz is the most amazing thinker and musician. We worked on “Inflections” in Berlin at his home. I feel it is the most mature tune on the record, and it takes you on a journey. I also played cello on this tune.

Danilo (Motor City Drum Ensemble) is a very good friend of mine, and I wanted to work with him for a long time. We always talked about it and finally got to do it on this record. “Justice” is a protest song about the world we live in.

I’d heard some of Danny J. Lewis‘ music through my A&R for the record and so wanted to work with him for his soulful style. “Something for the Weekend” turned out very summery and reminiscent of “So Good Today.”

Rasmus Faber was a suggestion from the A&R at the label. I heard his music and was instantly uplifted. We made “ Butterflies” and “Summer’s Loss” together in Sweden. It was freezing cold! He is an amazing producer and now a good friend of mine. His chops are crazy!

Georg Levin is mad! He is so musical and funny. It was sometimes difficult to work with him, as we are both singers! But this added to the quality of the music we made. We had a mad energy together and the music I made with him speaks for itself.

I had the best time in Amsterdam with Gaston and Rene (Chocolate Puma). We made some great music and it was a shame the other tracks didn’t make it onto the record.

I have known Hugh (Redlight) for years, and we made this for another project we are working on, but it ended up sounding better on this record!

Were you worried at all about how to create a sense of cohesion, with so many different people involved?

Yes, a sense of cohesion was very hard to get, and it’s something that took a lot of time and effort getting right. I mixed the album away from the producers with Toni Economides so that it sounded sonically coherent. I was worried about this all the time I was making it. I think we got it sounding like a record though.

Ben Westbeech, “Stronger” [Strictly Rhythm]

Was there anything you tried to do on the record that just didn’t work, for whatever reason?

Yes, there were a few tracks that didn’t make it. Some for business reasons; others simply didn’t fit. I would like them to see the light of day at some point, but who knows! There is a track with MJ Cole which is great, a Soul Clap track that is only on the vinyl! And some others too. Maybe we do a bootleg! Or Beatport exclusive!

Tell us a little about your Breach project. Your music under your own name is so smooth, so it’s interesting to discover that you were also behind such a tough track as “Fatherless.” You’ve done a couple of singles for Pattern; what’s next from Breach?

Yes, BREACH! Gonna be a big project for me next year. I have some interesting releases planned with Claude VonStroke’s dirtybird, and Catz n’ Dogz’ Pets Recordings, and I am starting my own label to release on early next year. I am doing collaborations with Midland, Eats Everything and T. Williams, and I have made a lot of Breach records that are really exciting. It is house music with an edge and I will be concentrating on that next year so watch this space….  BREEEEEEEEEEAAAAAAAAAAAAAAACCCCCCCCCCCCCCCCHHHHHHHHHHHHHHH!

Ben Westbeech, “Something for the Weekend (Breach Remix)” [Strictly Rhythm]

The UK bass/funky/wot-do-u-call-it scene seems incredibly fertile right now. What do you find most exciting about it, and where do you see things going?

Yes, it’s so exciting, and I’m very happy to be a part of it. Everyone is just making records that they want to make and the genres are all breaking down. It’s a real exciting time for me as a producer, and everyone around making this sort of music. There’s a lot of energy that’s being channeled into it from the UK.

Ben Westbeech September 2011 Chart

Get the chart on the new Beatport here.

Ben Westbeech, There’s More to Life than This [Strictly Rhythm]

Get the album on the new Beatport here.

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