Demis Lyall-Wilson looks at robots, and their place in film history.
Undiscovered #004: Henry White & Nathan Feddo Q&A
- 23 Nov 14
Hi Henry & Nathan, can you tell us how you got involved in Undiscovered?
We did a tune for an artist who had already worked with someone on Audio Network and she gave us a contact - so it all kinda of all happened via someone we'd already worked with outside of Audio Network.
Where did you start out in music?
Henry and I had some mutual friends from this small town where we are from – Skipton, a market town in North Yorkshire. I ran into him in a pub - we were underage probably – and he was listening to loads of music and had just started playing drums. I was playing a little bit of bass at that time and Henry was like: ‘I really want to form a band’.
We kind of liked the same sort of things, so we got together and started playing in my parent's garage. Both our older brothers were really into dance music, so we were getting loads of cassettes of pirate radio recordings, acid house and loads of electronica. We'd just sit and listen to all of these cassettes and then try and get that into a band.
What's the setup at Dental Records?
Basically, Dental Records started out as a bit of a joke. We thought it would be quite funny because of the name and we've actually had a load of people turn up who are after dental records - which is kind of weird.
But it's really just like a collective of our friends - we've got people that do video, guys that do graphic design and people who do music as well.
How would you describe the tracks you've done for Audio Network?
Ultimately the sentiment is that they are warped pop tunes. Also, for me it's harping back to those cassette tapes - it sounds warm, analogue and dusty.
I've got a bit of a problem with really clinical electronic music, and because we’ve played in bands and stuff, we wanted it to feel human. When you take all the electronics away you've still got a tune - a song you can sit down on a piano and just play.
Is this the first time you've made music for film and TV?
No, it's been an on and off thing for us really. We’d done a few things for a company called Altitude, but we'd always been writing more of our own tunes - so we've never done it seriously before.
You've got an eclectic background then - would you say that's reflected in your music?
Definitely. I think you can still kind of hear where we started out; you can still here those early influences now. There's kind of an aesthetic thing that's stayed the same: we’re still writing melodies and stuff that's influenced from all of those early cassettes.
I don’t think I realised it at the time, but they were massively important, because they got me obsessed by music.
Why did you decide to set up your own studio?
We'd played together in a band for ages, and when you're writing tunes and want to write more it becomes increasingly difficult to do that in rehearsal room. So we decided we needed a better space to do it in.
Do you take a different approach when writing music for film and TV?
To be honest, I think there are certain tunes that lend themselves to it. When we spoke to Audio Network, they just wanted songs that we'd done - it wasn't really like we specifically need this or that.
Finally, what have you got coming up?
We've just finished an EP for a girl called Natalie Duncan, and that was executive produced by Liam Howe. He's a platinum selling producer and just kind of brought everything together for us. We're also doing some more writing sessions now.