I first came across Max Cooper around the time of his last album, One Hundred Billion Sparks. The lead single, Hope, defies simple categorisation, at once ethereal and ecclesiastical, and yet with the throbbing subs and high-end sizzle of a track designed for the dance-floor. The dance-floor never gets its drop, but instead ‘Hope’ unravels into a meditation on beauty, where minutes pass in a few quick breaths. When experienced with its accompanying video, ‘Hope’ acts a useful introduction...

At the end of June 2018, in the midst of world cup fever, I caught the overground south from Dalston Junction to visit Paul White, a producer whose work I’ve been a fan of for nearly a decade. First emerging as a leader of of the British beats scene of the late noughties releasing on One Handed Music alongside artists such as Bullion and Mo Kolours, Paul White’s take on instrumentals often sampled the weirder, dustier corners of his considerable record collection, from 70s Polish jazz fusion...

Earlier this summer, I had the chance to speak with Mala, a DJ, producer, promotor and record label owner from south London, who over the last decade, has played a central role in the development of the dubstep scene. Both his own productions as Mala, and those as Digital Mystikz alongside Coki, are sited as some of the key releases that defined those early days of the genre, and his record label, Deep Medi, has catalogued releases from many of the scene's innovators over the past 11 years....

In June, I had the opportunity to speak with Silas Moldenhawer, better known as one half of Danish electronic production duo, Kenton Slash Demon. Having first discovered them back in 2010 through their Tartelet Records releases, and later, as part of When Saints Go Machine, these Copenhagen producers were at the top of my wish list for the Sound Motives project right from the beginning. In episode 2, Silas discusses how the group came about, their early musical influences, and the artists...

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