David Marston Q&A

davidTell us about the expression ‘Kindness of Bearer’ which is also the title of your stunning new EP for Soul Clap Records?

The tradition of “Kindness of Bearer” letters originated at the Quaker boarding school in Pennsylvania that I attended. “KOB’s,” as they are fondly known, are special messages written on pieces of paper and then folded into small square packages for delivery. The messages are entrusted to a designated courier who takes the note to the intended recipient(s).

For a long time I thought that this concept would be a cool and fitting representation of the relationship between musician, record label (or any musical outlet), and the general public. The tradition is a culture of meaningful communication and exchange, and that’s what I think artists and labels should try to achieve with their listener base.
(Photo by Simon Benjamin)

How did you first hook-up with Soul Clap and can you tell us about your relationship with them?

In my final year of University I was trying to figure out what to do with all the music I had made. At that point, I had already been producing for a while and I took the bold step of sending Soul Clap an email. I wasn’t really expecting a response, but within a couple of days Eli responded saying that he liked the music I had sent, and he asked me to send him more material.

My relationship with the Soul Clap boys is good. I am a young, developing artist, and – as they have been in the game for a while – I have a lot I can learn from them. I really appreciate their advice and mentorship.

Buy the EP https://davidmarston.lnk.to/kindnessofbearer


Each of the four tracks EP reflects different styles and influences. How important is that to you, and do you feel Dance music can be too restrictive these days?

I appreciate and enjoy listening to many different genres of music. I like to produce music that combines and merges my various influences. Sometimes this process is deliberate, but a lot of the time it just occurs naturally.

In regard to the tracks that appear on the EP, the music inevitably reflects an array of sonic influences, because I worked with several different artists and each person brings his or her own artistic sensibilities and idiosyncrasies to the table.

I sometimes find that Dance music can be restrictive, especially when you have to think about making money and about people’s expectations for the music that you make. There can be pressure to conform, to sound a certain way. But each artist has agency, and one can choose whether or not to give into the pressure and how to negotiate one’s own relationship with the status quo.

David Marston & Anna Spackman – Sun
Directed by Simon Benjamin.

How do you feel about the importance of songs in Dance Music compared with the past?

I think songs from any genre or period can be important and influential.

Can you describe where the inspiration came from, and talk us through how you produced one of the tracks from the EP?

The inspiration for the EP came from the collaborations I had been working on with friends. The songs sound quite different from one another, but the commonality between all of them lies in the fact that they are, in my opinion, compelling products of team work.

The story behind “Sometimes It’s Hard” is somewhat interesting. This track actually started out as a fairly typical 120 bpm house track. My friend Brigitte Zozula sent me some vocals that she had recorded on her phone and I started to build instrumentation around her recording. Eventually, I got stuck and found it difficult to elaborate on the ideas I had laid down. I think I hit a bit of a creative barrier by working in the framework of the “Club banger”. The breakthrough came when I slowed the track down to 92 bpm. Soon enough ideas started to flow again. From a psychological standpoint, I think I felt that I had more space and time to be creative in order to finish the song.


Do politics and music mix? What are your feeling on the upcoming American Election?

I think so. Music, like all other art forms, is an expression of ideas. These ideas can relate or pertain to any human construct, including politics. I think music is a powerful and important medium through which people can communicate and engage in political dialogue. I have a great deal of admiration for artists who encourage critical thinking and who push to promote positive social change, even if doing so could be damaging to their careers or to their reputations.

I really hope that Bernie Sanders will become the next President of the United States. In my opinion, he’s the best candidate for the role, as he seems to genuinely care about ordinary, working class people. I think it is extremely encouraging that his progressive message has resonated greatly with so many people.

What is your favorite musical instrument, and do you own one?

guitarThat’s easy – the guitar. hands down.
And, yes, I own a couple.

What are your plans for 2016?

I’m going to be doing a few gigs around the time of the release of my EP in late March/early April. I’m also going to be doing a bunch of shows with my label mate, Nick Monaco. I’m playing guitar and doing some programming for his new live set, which we have been developing together over the past month. I am looking forward to 2016 as it should be very exciting year!








Nick Monaco
The Stalker EP
Soul Clap Records

SCR1206NICKMONACOArtworkThis has to be one of Soul Claps finest releases with Nick Monaco’s sure-fire funky arrangement sounding every bit as compelling and edgy as the title suggests. But while there are a number of great remixes on offer its all down to the original version’s hypnotic charm to seduce you in total. Subject wise it’s about stalking, so no surprise there then, and the vocal is certainly suitably smoky cool, but it’s also very much about the guitar plucked groove that captures your imagination too. Soul Clap supply their own excellent and heavier Tribal version, with Tanner Ross getting deeper on his, leaving Navid Izadi to break up the beats with an atmospheric backdrop to the voice over. Remaining tracks, Boy Meets World explores jazzy moodiness and Boy Meets World references classic eighties Electro beats complimented by smouldering chords.

release: November 25




Jus Housin EP
Extended Play Recordings

No prizes for guessing what this is all about. Four fierce House cuts for your dancefloor pleasure once again sees the Belfast producer, and co-label head, get it spot on. Opening with the blistering Rock The Bells and its uplifting combination of excitable vocals, thumping bass, infectious stabs and, of course, some seriously funky cowbells. Can’t Slow Down, replays the formula minus the cowbell while again hitting you with an array of voices and captivating stabs. It Is What It Is, is the EP’s more thoughtful production feeling deeper with crisp drums offsetting tense string lines and rolling bass. JC Williams remix then finishes on a high with piano complimenting the bouncy, jazzy b-lines on what is another very fine release from the label.

release: November 18




Daniel Steinberg
In My World EP
Arms & Legs Records

danDaniel Steinberg follows neatly on from where his excellent album, Treptow left off earlier in the year with this fresh set of diverse sounds and rhythms. But not one to rely on cliques his music always makes for rewarding listening. Gardezia begins with up-tempo beats and warm, jazzy electric piano inflections setting the tone perfectly. The excellent low-slung, In My World follows with soulful vocals and irresistible funky-horn punctuated grooves put through their paces via the producers’ willful imagination. Leiser Minelli completes with uneasy beats accompanied by a further sprinkling of keys and picturesque atmosphere’s again highlighting the Berlin producers’ musical prowess.

release: November 25



The Emotions
Come Into Our World: Expanded Edition
Big Break Records

Having already recorded one of my favourite soulful records, Flowers in 1976 The Emotions went on to release this album three years later. Produced by Earth, Wind & Fire’s Maurice White and featuring all of those distinctive harmonies alongside feel-good grooves the opening ‘What’s The Name Of Your Love?’ very much typifies the sound. The mid-paced numbers do their own thing too such as the following, Cause I Love You which smooches along suitably. You can clearly hear all the E,W & F references occurring from their Boogie Wonderland period resulting in this sounding like sunshine on a rainy day. Another fine re-issue from bbr.