London based John Cunnane, better known as dgoHn when making music, has been releasing music on the likes of Subtle Audio Recordings, Analogical Force as well as Love Love Records for a good 15 years, exploring drum & bass thru organic breakbeats, tight edits, deep bass stabs and ethereal synths, resulting in some of the most vibrant percussive landscapes since drum and bass cut its teeth in the late 1990s in the shape of Photek. And to help kick off the blog here at Wavepusher.com, dgoHn agreed to do this interview, giving us a rare insight into his music and production mindset.
Can you tell us a bit about how music making started for you and how it has led you here?
dgoHn: When I was younger, a lot of my friends played instruments of all kinds, some were actually good. I didn’t play anything at all myself as I was drastically shite at that kind of thing (no dexterity or patience) but still, I wanted to be involved somehow – I too wanted to be musically creative. Sometime later, when I was in my early-ish twenties, some of my musician friends started using computers to aid in their musical shenanigans, and it was only then that I realized that it was indeed possible for a spaz like me to make music. I bought myself a pc and almost immediately started making some of the most god awful, cacophonous shit you’ve ever heard. I’m told that over the years I have gotten slightly better.
… some of my musician friends started using computers to aid in their musical shenanigans, and it was only then that I realized that it was indeed possible for a spaz like me to make music.
Your new album Alterations in Gyral Form just released on April 5th, the trustworthy elements of drums, bass, effects and melodics are present all the way through in so many variations. Did you have any objectives or narratives when creating them?
dgoHn: The only objective is to make something that’s interesting to listen to, something that I like and something that, to me at least, isn’t boring. There are no narratives that I’m aware of.
When I discovered your early work with the EP ‘All The Fucking As’ back in 2016, I instantly came to think of Photek’s ‘Modus Operandi‘ back in 1997. Do you have a certain vision or mission with your music?
dgoHn: With regards to absolutely anything at all, I have no musical missions or visions, at least that I’m conscious of – and if I did, I probably wouldn’t stick to them, and I’d end up switching my focus all the time. For me, it’s probably best to just not give a fuck and just do whatever.
When I hear your music, first of all I’m instantly drawn by the drum work. A full kit jazz drummer like Jack DeJohnette comes to mind, his width and depth is insane – have you played real drums, is what I’m really looking to ask?
dgoHn: I don’t play drums – I can’t play drums, I am terrible at it – but I’ve always loved listening to drums, especially when played well, with skill, originality and inventiveness. One of my best friends growing up, played the drums, and we’d often (and still do) nerd out talking about our various favorite drummers from the bands that we were listening to, we idolized them. When I started to create music, nerding out on how I constructed beats and drum patterns was seemingly just the natural thing for me to do.
In music everything is fair game. The listener should ask no questions about what and how, but for like minded creators I think a relevant question would be whether you use samples (either original recordings or commercially obtained), or VST created sounds for your parts?
dgoHn: I’ve always used samples. When I started making music, the use of samples was pretty much all I had to work with, so they are usually the starting point of anything I’m working on. I get samples from anywhere I can find them, i don’t care – old vinyl, CDs, tapes, sample packs, recordings of either myself or friends playing/jamming/experimenting on various instruments, field recordings, tv, movies, and there is such a wealth of all kinds of stuff on the internet.
I get samples from anywhere I can find them, i don’t care – old vinyl, CDs, tapes, sample packs, recordings of either myself or friends playing …
Can you shed some light on your studio set-up? And can you name a few favorite instruments or effects and what you use them for?
dgoHn: I have a simple set-up. Just a computer running Cubase. I have a few small synths knocking about, like those Korg Volca things and what not, but I rarely use them. Mostly, everything is done inside Cubase and it has generally been like that since the start. I use quite a lot of VST effects and instruments; to list them all would take an eternity, but off the top of my head, favorites would include Reaktor for everything, various Voxengo stuff for eq and dynamics, and Dexed and Surge for synth type stuff.
Which tracks from your new album mean something extra or special to you?
dgoHn: ‘A total disregard for whatever it is you think’, ‘cheek biting’, ‘hera endleofan’ or ‘denzil’s breath’, maybe – I have no idea why, and if I did I probably wouldn’t be able to convey it in words.
You self released your latest album, didn’t you? What would you say is the big difference in doing it like that compared to releasing on a label?
dgoHn: This latest release is not entirely a self release. Through licensing, the album is available as a double LP from WeMe records, which is great as those who desire their music on vinyl are catered for. Regarding the differences involved, the only thing I can think of is how much release/promo work that I personally have to do.
Is there any particular movement in music today that you feel a part of, and where do you see it going?
dgoHn: Whenever I’m invited to perform at events, which themselves are very much part of some particular scene or movement, everyone is so welcoming, and the crowds always seem to love what I’m doing, so sometimes, fleetingly, it does feel like I’m part of something bigger. I don’t think that I make enough music that fits neatly into the defining attributes of a genre, but I suppose, to a certain extent, one could count me as being a very small part of the modern jungle movement, and/or more so the smaller drumfunk hustle within, but I personally don’t consider myself to be part of anything, I’m not doing enough to claim such a thing.
Let’s hear it: At which decibel level do you send your mixes to mastering?
dgoHn: 6dB to 8dB of headroom is good enough, right? – it’s usually around there.
What’s next for dgoHn?
dgoHn: I honestly don’t know. More tunes?
More info: dgohn-music.com
