No, seriously, who the hell is this guy?
Here’s what we know about him… His album came out on Doc Scott’s legendary label, and it is the first solo album in the label’s entire 22-year history. He has been making powerful halftime with dub influences since 2012. He is originally from Manchester, but now lives on an island not far from Brazil. Oh, and he also really loves trees.
As for the album “The Ride”, it is an incredible, memorable record featuring carefully calibrated, balanced, deep drum and bass. Albums like this always make you come back to them, and every track title contains a hidden meaning. So take note: this album really will enhance your collection—consider it our prediction.
We interviewed the mysterious producer, and here’s what came of it…
UKF: Do we know who you are? Are you well known, and is this simply your artistic pseudonym?
HT: I doubt you’ll recognise me. I never thought about it until I drew a line between my personal life and the role of Hidden Turn. I know how many DJs go around telling everyone who they are, where they’re from and what they do for a living, but I’m not like that. I prefer to live a life that is less open to everyone. And so I’m probably not such an interesting character. Besides, it’s always good to be a little mysterious. Let my music tell you everything about me, right?
UKF: You came to the attention of the drum and bass community in 2014 after your “Big Dirty” EP came out, but you already had a couple of releases under your belt before that…
HT: I’ve always been a big supporter of the changes in drum and bass sound in recent years. In my Manchester, this music has always been forceful, aggressive and very loud. I prefer a more melodic side of the sound, and even something with a trance influence. I’ll never forget the impression made on me the first time I heard Amit’s work. He had already been making halftime for many years. Besides him, I really love what Digital has always done. But whoever I admire musically, I never try to sound like them or chase after them in any way. In the studio, I simply do whatever I feel like. I tried making drum and bass at 170 BPM, but halftime rhythms seem more vulnerable to me, and there is much more room for experimentation in them.
UKF: I like the word “vulnerable”.
HT: For better or worse, my music has never fit neatly into the boundaries of drum and bass, so the listener has to be more open and receptive. I understand that, for me, I’m moving further and further away from what I’ve been working with all this time. I like the concept of bass music without boundaries or limitations. The people who write to me often turn out not to be drum and bass fans at all. And I like that. The fact that my tracks can be played outside drum and bass sets, or somewhere else entirely, really appeals to me.
UKF: And who writes to you—well-known DJs from outside the drum and bass scene?
HT: I’m talking about people who have heard my music and wanted to talk to me. To me, these are the most important people! The label sends promos to DJs before a release comes out, and it’s really cool to get feedback from people like, say, Bukem. But ordinary people, people like you and me, just pick up their phones and message me. It’s amazing! They didn’t get these tracks through a promo mailing; they bought them and enjoyed the music. That’s the most important thing to me! I never would have thought that the time would come when I’d be sharing what I create. I’ve been making music for a long time, but I never really thought about whether it would go anywhere or not. I keep doing it. It’s an outlet for my creative ideas. It’s a passion! So sharing music with people is a special experience for me. Sometimes it makes me a little more emotional.
UKF: To emphasise how special it is, let’s say that this is the first album in the entire history of the label!
HT: Everyone remembers the “Future Beats” compilation, whose success was simply incredible. And I was lucky enough to make the list of contributors with my track. But yes, that’s right—my album became the label’s very first. I remember mixing “Prototyped” and “Shadow Boxing” records. I liked them so much that I even had two copies of each. Back then, I would never have believed that what’s happening to me now could happen. Fortunately, Doc Scott didn’t ask me to record an album from scratch. That would have been too much pressure for me. Most of the tracks had been recorded before the album existed as such. I think Doc asked me to record an album because I was sending him too many of my tracks. I imagine I’m not the only one. I love the EP format and releases with a much wider scope, where I can show my versatility and my desire to explore new ideas.
UKF: You had around 60 tracks for the album, right?
HT: Yes, it was a long process. It took even more time because I was effectively recording new tracks as we decided what would and wouldn’t go on the album. All my tracks are living creatures until they make it onto a vinyl record. It’s probably a bad thing, but I’m a big fan of all kinds of last-minute changes. But Doc Scott acted very wisely and restrainedly, suggesting potential album tracks that he liked. At the same time, it was absolutely clear that he wanted the album to be mine and to give me the necessary freedom to make decisions about the final tracklist and the order in which the tracks appeared on the album.
UKF: You had to draw the line somewhere, right?
HT: Yes, it wasn’t an easy task. I think many musicians could say the same. The hardest part of all this is saying, “that’s it, stop”.
UKF: Maybe I’m digging too deeply, but it seems to me that every individual track has its own story. The album seems to lead us in a circle from birth to death—is that right?
HT: Yes, the album is loosely divided into three periods. And the whole record was created to tell the listener a story. Sometimes albums become nothing more than a collection of a musician’s tracks, whereas I want to create a story. And what could be more interesting than the story of life? My life, your life, civilisation, business, the planet. Everything that has its own beginning and end. I’m a bit of a hippie at heart, which is why I love all these themes involving stories and journeys.
UKF: There haven’t been any hippies or albums this conceptual in drum and bass before…
HT: Thank Doc Scott. He inspired me to make the album and develop this concept. And I started putting a great deal of pressure on myself. The option of simply dropping a couple of powerful tracks for release didn’t exist for me. Music should of course remain the main thing, but I’ve always liked offering listeners something more than a couple of tracks. For example, giving an idea and motivation to those who want to “dig” deeper.
UKF: I’ve got the fairly strong impression that you’re incredibly prolific as a musician. For the next album, will you create another 60 tracks and then select the best ones?
HT: Who knows? I like working in the studio two or three times a week for eight or twelve hours. I’m always creating something, and I have a huge number of tracks. Some of them are simply terrible, while some are better. I send batches of tracks to the label manager and Doc Scott and see whether they like them. I hope I’ll have something else released on this label. I have plenty of ideas! I’ll send them something else soon!
UKF: All right, let’s say… You live in a remote place, which means a busy DJ schedule wouldn’t be able to cover the bills. Unfortunately, royalties can’t feed us. So, we conclude that you’re not who you claim to be. Still, you do have a full-time job, and music is simply your favourite hobby?
HT: Ha! Yes, I have another job that has nothing to do with music. I love the way my working days go, but I’m not going to say anything more about it. You’re right, it’s too difficult to make a living from music these days, which is why many people perform as DJs more often. I simply like making music under the conditions I create for myself. It gives me freedom, and I don’t feel any pressure from having to release something just to pay my bills. I have two roles in this life—the first is an ordinary guy living an ordinary life; the second is Hidden Turn, a musician who immerses himself in music several times a week so deeply that the inspiration from creating music in his studio will last him for the rest of his life. And I love both sides equally strongly!
Original interview: UKF. Translated from the Russian translation by Rustee (2016).
