Interview: Aggborough


The story behind Aggborough is an interesting one – William Richard Green, based in London, may be known as the menswear designer behind the music-inspired Studio White Label, but he is so much more. A father, a husband and a witty interview subject, he squeezed into music organizing the VIKINGS London house nights with Joe Ashworth, whom he did a duet with for Furniture on Baalsaal Records. Now, his somewhat atmospheric, experimental sound is fused with a type of solitude that can only be found in the desert, away from the metropolis clutter. His first 12″ – a two-track EP – is out on OTB records, “The Answer to Everything/MitzpeRamon.” Aggborough, who claims his name from a football stadium in Kidderminster, spoke to us about fashion, urban overload and how a trip to Israel helped define his sound.

LSD: Can you tell us a bit more about the concept of your new EP?

It all started with the B-side Mitzpe Ramon, This track was a real project for me trying to develop my new ‘Aggborough’ production concept and sound. When I was finished I couldn’t wait for people to hear it so sent it to a few people and the guys at OTB said they would love to put it out. We decided that Mitzpe Ramon was more of a B side in the context of a regular EP so we made the ‘Answer To Everything’ retrospectively to go as an A side. This tracks roots are still founded in field recordings but is a bit more fun with the big synthi sounds, vocal sample and the structure is a bit more club friendly. I thing the end result is a well balanced record with a bit something for everyone.

LSD: Your B-side MitzpeRamon is based on a trip to Mitzpe Ramon, Israel. What can you tell us about your trip?

Since I started producing the ‘Aggborough’ project field recordings, I found sound has been the starting point to my productions. I spent a couple of months in Israel last year and the highlight for me was staying at Succah in the dessert. This is a truly magical place on the edge of a crater in the middle of nowhere, you stay in simple shelters with very basic amenities, at first it seems silent but then in a way the silence makes you notice even more the sounds around you. It was a truly refreshing experience from constant drone of the city. So I recorded everything I could for a couple of days whilst I was there. When I got back I aimed to produce a track using mostly the sounds recorded there. Also with the track I tried to reflect how these new sounds often previously disguised were now so clear and vivid. By having the sudden almost random noises so prominent in the mix as well as constant atmospherics swelling in and out to reflect the pounding heat causing the horizon to shimmer in mystical ways. The sounds them self are very raw and sometimes brutal much like the landscape of Mitzpe Ramon.

LSD: Is “style the answer to everything?” as you sampled it?

Ha, I hope not, I’m not a very stylish person.

LSD: Why are you drawn to open your mixes with film samples?

It’s not something I always do, I just loved the sample when I first heard it so decided to start a mix with it as sometimes the few minutes of beats at the beginning of a song can be a bit of a dull way to start a mix.

LSD: True. Was it hard making the change from fashion to music? So often we’re told to stick to our “brand” of what people know us as, but change is also very important to grow.

Not at all, I still do both, I’m even pushing for them to be more together with my new projects, In the past when I worked on different music projects and fashion, I used to desperately keep them separate despite being always asked about the relation ship between both. Now with my new projects I actively try to combine many different creative outputs and collaborate with as many different people as possible. I am less concerned with personal success than I am with the success of the work itself in what ever format it may be.

LSD: Do you have any new party plans at the moment since your party “Vikings” you did with Joe Ashworth in London ended?

We have spoke about doing them in the future. We are just waiting for the stars to align, with venue, acts, time and purpose; we don’t want to put on a party just for the sake of it. It needs to be special.

LSD: Were you always a musician, even though you had another career?

No, I don’t think of myself as a musician now, particularly. I more enjoy setting myself a process and trying to mold the results into a product that people can enjoy. The structure of techno is great for this methodology but I think if I was to try and make music outside of the dance parameters, it would be crap.

Check out Aggborough on Facebook.

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