Interview: FBA Touches the Future

Interview: FBA Touches the Future

27 May, 2009 | 8.03PM

• Written by: rcnrecords
• Filed under: Music News : detroit, future beat alliance, recondite

In a day and age filled with a never ending stream of new releases and a short shelf-life for tunes, there are still guys out there producing good records that people still return to and bury in their crates for months if not years. Matthew Puffett of London has been crafting electronic masterpieces as Future Beat Alliance (FBA) since the mid-1990s and continues to push the envelope with new music for such respected labels as Versatile, Delsin, and Rush Hour. He has also remixed the work of some of electronic music’s most prolific artists such as Chateau Flight, UNKLE, Ian O’Brian, and Danny Howells to name a few. We sat down to chat with Matt about his music and upcoming exclusive digital release, “Touch the Future” on June 11th.

For all those who are unfamiliar with you, could you tell us a bit about where your musical upbringing came from and what music influenced you? 

I guess it was just going record shopping every single week from a very early age, and being exposed to so many different styles of music at that time, but it was mainly hip hop right at the start and all the documentaries about its culture.  There were these two documentaries, Bombing and Bad Meaning Good; They were just brilliant! At that time as a kid, they made you feel like you had to be part of something creative.

When did you get the music making itch?

In the early 90s after going to lots of raves and acid parties, I used to come away in the morning thinking how the hell did they make that incredible sound. I did lots of research on what equipment I would need to start experimenting. It was not until I had a back injury a few years later and I received a compensation cheque that I bought my Akai S3000i, Boss DR-660, Atari Falcon, Yamaha TX81Z module and a Roland JX-3P synth. This is what I used on all the early Void material right up to 2001 on my first LP for Delsin, Disconnected. Afterwards, I discovered the wonders of Apple’s Mac.

There is a deep, emotive feel to a lot of your music. Were you inspired by some of the music from Detroit and Chicago or did the music of these famous musical cities come your way through UK producers you listened to with a similar inspired sound? 

Yeah I was totally obsessed with the sound of Detroit techno and still am to this day. I guess it all filtered to me through Lee Grainge at Fat Cat Records and Colin Dale’s UK radio show on Kiss FM, The Abstract Dance. This show was so amazing! There was this section he did at the end called “The Outer Limits” where he would play tracks by Front 242 , Model 500, and loads of obscure German electronic bands. It was such an exciting time for dance music and a huge inspiration.

Your earlier work on Void and Delsin were experimental and sparse compared to the more upfront dance tracks we hear from you now. The beauty and emotion is still there, just a bit more subtle. How did your sound evolve or was this just a return to things you loved and appreciated about dance music?

I guess i just wanted my sound to be heard more on a global level, and the best way to do it is through the dance floor. You can still keep it nice and deep and obscure with a 4/4 kick drum. I`ll still continue to make the experimental material, but I reckon the driving spaced out techno tracks will come first this time around.

Your newest release is a digital exclusive of a 12” on Recondite from 2008. The track ‘Pitch Black’ became a hit with a lot of DJs and record collectors last year.  Why do you think this song had such crossover appeal to DJs in multiple genres?

I`m not sure, to be honest with you. I was really freaked out when this guy from Pakistan sent me a Myspace message saying that he saw John Digweed playing it at a massive festival in Madrid. Then the Pakistani guy kept contacting me asking for a digital copy. I gave it to him in the end just to shut him up. FBA fan in Pakistan!!! Funny!

Are you bothered or vexed by all the new music available week to week or is this something that you feel has been going on for some time now?

To be honest with you, I think it’s a nightmare and impossible to keep up with the whole digital download side. I feel that it has all become so disposable because there is just so much of it, but then again who am I to say what is good and bad.

What sort of advice do you have for new producers who are just getting started and planning on releasing music on their own or presenting their music to other labels?

Just try and be as individual as possible and not listen to all the hype stuff that is being released. And remember to give yourself a break when you’re locked in a room with loads of machines that can often make you feel very peculiar.

Are you working on any new projects at the moment that we should keep an eye out for and are there any plans of live performances in the near future?

I have just finished an album for Stefan Robbers on his EevoNext label (the digital subsidiary of the legendary Eevo Lute Muzique). I am really excited about this release because it was one of my favourite electronic labels in the mid-90s. Also some of the tracks on there are a few years old so it’s great they are finally going to see the light of day. I think it will be a limited CD and digital release. I also did my first live show last month at Panorama bar in Berlin, which was a great experience! It`s such a great place to play. This is definitely something I would like to push forward.

Quickly, what are you favorite London joints to grab a bite to eat and loiter at?

I don’t really go out that much in London now, but for a quick bite to eat it’s usually Wagamama or any local pub for a quick pint.

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