British electronics brand Goodmans have teamed up with The Rig Out to bring you a documentation of the ever-changing electronic music scene in the capital.
The bedroom has long been a place for underground artists to grow. Its safe confines allowing them to hone their skills, often posting them with a level of anonymity online, beginning the process of trial and error. It’s the way myriad musicians have been discovered in recent years and Goodmans and The Rig Out are tapping into this trend with their short film, Only Choice In The City.
Directed by William Kennedy, the film follows London natives, Organ Tapes and Soundbwoy Killah into their often hidden creative process. All shot in East London, the focus is on the counterculture that is running strong beneath the city’s everyday business facade. Electronic music is dominating the charts, clubs are devoting themselves to it and musical experimentation is limitless with the endless development of new technology.
We spoke to William Kennedy for an insight into the production of the film and procured a playlist from Soundbwoy Killah for you to play on repeat after you no doubt fall for the rough-around-the-edges but nonetheless alive and enthralling electronic scene. If you haven’t already, that is.
How important is the electronic music scene to you personally?
William Kennedy: I grew up in London. Electronic music was a big part of my youth. I listened to a lot of grime and dubstep. The scene here is constantly changing and evolving, that’s what I love about the city. In this film I wanted to shed light on two young London-based producers who are breaking new ground.
How was the filming experience? What was your favourite part?
WK: It was a lot of fun. We had a fantastic team on board. Everyone was really into the music and the idea behind the film. My favourite part was definitely shooting around Thamesmead. It’s beautiful. Very surreal. Far too many ducks. The place has an amazing history as well. Chunks of A Clockwork Orange were shot there, which I found really exciting.
What look and feel were you going for creating the film?
WK: I wanted to make something a little different. These producers are super talented and their music is really exciting. I wanted the visual element of the film to really reflect the very different styles of their music. The idea was to get under the skin of their unique creative processes and to capture that sense of escapism on screen. The colour grade as well as the use of different cameras and mixed media helped contribute to that I think.
Soundbwoy Killah’s ’10 tracks I’ve been listening to at the moment’
Dream 2 Science – “Dream 2 Science”
Only found out the name of this blissed out acid dream recently. It’s been on repeat since.
Philip Glass – “Koyaanisqatsi”
I’m deep into 3rd year exams at the moment, and this has been the soundtrack to most of my essays.
Don Found – “The Journey”
Spaced-out, slow-mo house from my boy Don Found.
Akoya Afrobeat – “Fela Dey”
Funky, soulful and full to the brim with life. Fela himself would be proud!
Julien Dyne – “Stained Glass Fresh Frozen (feat. Mara TK)”
An industrial intro, deep space-age bassline, and soulful vocal.This track has everything!
Call Super – “Dovetail”
Whirling melodic polyrhythms from Call Super. The whole album is utterly sublime.
Roni Size – “Brown Paper Bag”
Guaranteed foot-tapper or your money back.
DJ TN-Cap – “Gucci Riddim”
This is one to play as loud as you can get away with – (This guy should get a prize for best DJ name).
Sister Nancy – “Bam Bam”
One of the best dub tracks ever written. Everything about this is perfect.
D’Angelo – “Betray My Heart”
My highlight from his amazing new album. Comebacks are hard, but he nailed it.