Talking to: Michael Diamond
Producer and DJ Michael Diamond blurs the boundaries between electronic and jazz, layering his productions with organic instrumentation that slips in cleanly with the crunching beats and shapeshifting synths. His new album Third Culture, released on June 24, is a seven-track cycle that slides gracefully between minimal, percussive atmospherics and scattered dancefloor rhythms.
It is also the inaugural record for the Vasuki Sound label, described as “an imprint run by a close circle of friends (all talented young creatives in their respective fields) and with an ethos of nurturing genuine undiscovered talent for years to come.” As just one example of Michael’s creative collaborations with like-minded musicians and artists, the LP’s opening and closing tracks (Genesis and Liberation) feature saxophonist Alex Wilson, who is the musical director of the Oxford University Jazz Orchestra, and who has been working with Michael as a mentor.
Conceptually, the Third Culture album draws on the sense shared by many people whose parents have immigrated to a new country - that is, that they fall between the cracks of both. But this feeling is, of course, complex and many-layered, fraught with questions of belonging, identity and culture. Michael has described being treated both as a “foreigner” in the UK and as a westerner when he visits his parents’ native India. Speaking of this experience, he has said that “over time, this has left me feeling that whilst I possess aspects of both cultures, I don’t truly belong to either one, leaving me with a fractured sense of cultural identity.”
We caught up with Michael to chat about his new album, the Oxford scene and the many artistic intersections of his practice.
Where are you at the moment, and what’s been going on there lately?
I’m currently in Oxford, trying to revise for some uni exams I’m underprepared for. It was maybe a bit ambitious to organise a whole album release for the same time! Life is mainly just filled with studying at the moment – although I just played with Tim Reaper and LCY last weekend and it was really fun - a nice break from revision!
Tell us a bit about your new LP, Third Culture. What inspired you to make it, and what was the process like?
I wanted to create something that had a story to it, that people could dive into sort of as an “auditory film.” I fundamentally just love making music – it’s my favourite pastime (I don’t do much else to be honest) – so the album just made sense as it gave me a goal to work towards. Lockdown made it very easy for me to make it my whole world, and to focus on the album with undivided attention.
That said, the process was far from completely solo, and I always wanted the release to be multi-artform in nature. I knew I had to incorporate Alex Wilson on the album – he’s a supremely talented saxophonist (and all-round musician) who’s been a big part of my musical journey so far, featuring on several of my previous EPs. He co-wrote the album’s opener and finale and I feel that gives the LP a nice cyclical feel to it.
I also had to get my friends Áine Kennedy and Oscar McNab involved too. Áine’s an incredible writer who wrote a short story to accompany the LP. It’s included as a booklet with every copy of the record, and it explores the kinds of confused feelings associated with being a “third culture kid,” which reflects both of our experience. At the same time, director Oscar McNab applied a similar process to his area of expertise, creating an immersive short film in tandem with Áine’s short story and the album, visually depicting Áine’s message. These guys really helped transform the LP into my “auditory film” vision.
I love the short story idea. What led you and Áine to work together and combine your talents in this way?
We worked together because she’s one of my best mates and she’s an extremely gifted writer; it’s a waste not to use both of our talents to make something a bit more significant! We had actually done something like this before on my Silk Road EP for which she wrote a poem. This album project was a lot bigger and more profound. I’ve learnt so much about myself as a result and I have her to thank for that - it’s made the LP mean so much more to me than just music. Her story has forced me to think about all the ways third culturism has played into my own life and I feel enlightened as a result.
Did you each create your work in isolation, or did you share things along the way, letting the ideas cross-pollinate and influence each other?
Definitely the latter – the whole point was to have art influence other art. There were elements of both - someone always has to make the first move, but we always had the idea from the start that I would write the album and she would write a story inspired solely by the album. About 70% of the way through its production I sent Áine the LP and her short story came after she listened through. A lot of back and forth followed and from that point on it felt like our combined minds were working on the LP and the final product is a result of our mutual efforts. Oscar was there in the mix throughout all this, slowly planning and crafting his concept for the accompanying short film.
I’m a huge fan of the album artwork. Who created it, and is there a specific concept behind these beautiful abstract designs?
Aww thanks! That’s all done by the amazing Abigail Hodges. She did an excellent job. They were made using linocut, blue dyeing techniques and additional digital processing.
There wasn’t a concept per se – Abi came up with the designs based solely on her feelings while listening to the album. I did offer some minor input, however. I always found the album felt very “blue” to me (because I always produce with these wavy blue lights on in my bedroom) and so I wanted the album’s series of artworks to incorporate a blue theme. Really happy with how they turned out!
Third Culture album art by Abigail Hodges
I can’t help noticing some biblical themes in the track list of the upcoming LP. Where did this inspiration come from?
Yep, the names are super biblical – I guess this was more of a subconscious decision rather than an active one because I only retrospectively realised that to be the case. I’m from quite a religious family so I was always exposed to biblical themes growing up, and perhaps that played into it somehow. Mainly, though, I just named the tracks based on the function they serve in the overall album story, e.g. Genesis is the beginning, Emergence is the “break-through,” Liberation is the final triumph and so on.
Oxford, and especially the university, is such an interesting mix of future-focused academia and centuries-old tradition. How does Oxford’s very particular culture enter into dialogue with your own?
I guess my Oxford experience revolves around my friends and the music scene, both of which are quite culturally diverse and not that “traditional.” The value in this place is the people I’ve met whilst being here – Alex, Áine, Abi, Oscar, everyone involved in Vasuki Sound, all my best mates outside of that too. In my schooldays I was one of only a few non-white kids, and I guess the “very particular Oxford culture” you’re talking about is closer to the culture that surrounded me back then. So contrary to what you might expect, being in Oxford has actually been the main reason why I’ve been able to reconnect with my original culture – which would never have happened had I not met Áine et al! Here’s a pic of us at a classic example of an Oxford tradition, “Formal Hall” (fancy dinner). She’s dubbed it “Harold and Kumar go to Formal.”
What’s the Oxford music scene like? Are there any other local (or non-local) artists or bands you’re excited about at the moment?
Oxford obviously has a rich history of certain kinds of music – choral and classical music in particular – but for electronic music the scene is quite small. I have a lot of respect for the student nights that start up. Loads of people only discover electronic music after coming to uni and the DIY student-run nights are so important in enabling that to happen. They come and go, as the students that run them come and go, but they have long-lasting impacts on the scene and it’s especially nice when you see them do well after leaving Oxford. For example, Goodness was started by Alex, Sam and Oli in Oxford and now they’re throwing some excellent parties all around the UK. They were a really important night in introducing people to electronic music when they were active in Oxford (and that definitely influenced me quite a lot when I was a lil’ fresher). Obviously Simple has been the undisputed king of electronic music in Oxford for over 20 years now, booking the biggest acts in the city, but that doesn’t take away from the smaller nights (current ones are Testpress, Spice Lounge, PillowTalk, Flow etc.).
You’ve launched a record label, Vasuki Sound, with friends. How do you all know each other as a group, and how did the label project come about?
We’re all best mates first and foremost and we’re each talented in our own respective way, so starting a label seemed like the perfect way to use all of our skills cumulatively in a way that doesn’t feel like “work.” Oscar is a sick director who is making some incredible films, Abi Hodges’ art is so lovely (much like her) and Áine’s writing is just genius. There are plenty more people involved with the label side of it too – Winston, Quentin, Jules, Remi, Will, Knev etc. They’re all extremely good people and I feel truly blessed to have them.
Vasuki Sound
What kinds of music did you listen to growing up? Were there any particular artists you were inspired by?
Alex Wilson
Growing up I listened to very different stuff. I only really discovered and fell in love with electronic music at around 18. I went through a metal phase as a kid when I was about 12 and wanted to be a rock star, as well as a choral phase (I was a choral scholar here in Oxford for 4 years). Jazz has always been there in the mix, but it’s come to the forefront more within the past few years. In terms of inspirations, I definitely thought a lot of people were cool growing up but I don’t really see any of them as inspirations anymore. They would have inspired me at the time, definitely, but I guess I move on fairly quickly and I wouldn’t be able to tell you one artist whom I’ve adored for years.
What’s next on the agenda?
I just wanna make some music really so mostly that! As soon as exams are done I’ll be back in my happy place (in front of my laptop and beloved Adam A7Xs). I’ll also be DJing – really excited about the bookings we’ve got coming to Simple later this year. I also have some more “live” stuff in the works with Alex Wilson and a few others, but more on that later….
Is there anything else you’d like to tell us about that I haven’t asked you?
I’m incredibly grateful to so many people in the making of this album. It was truly a team effort and it would never have turned out anything like this without all the people that have helped. Obviously Áine, Abi and Oscar played crucial roles but more peripherally there are about 50+ people who have been essential for the album project. This is the first time I’m releasing something myself – I had absolutely no clue how much actually goes into it and I’m just grateful to anyone who’s ever given me advice/criticism/feedback or any words of encouragement. It all goes a long way, every single time. I will never forget!
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