This is where we picked up the conversation with the guys, having just announced their sixth studio album – What Came Before – we did our best to discuss the last 20 years, the new album, and their thoughts on the sampling craze that has dominated online discourse over the last few months.Ĭan you remember what first drew you to music?Ĭhase (Saul): “I was playing guitar from 12 years old. The company they’ve kept during their faultless run further cements their exalted status within British music, working with the likes of Kano, Giggs, Plan B, Tinie Tempah and more recently BackRoad Gee. Putting out five seminal records, three of which were in the top ten, the duo have consistently been able to make music that artists and more importantly people, have gravitated towards. The desire to create, was greater than the seemingly insurmountable task that lay before them.Īlthough the world has moved on a lot since then, Chase & Status have remained an ever present force no matter which way the zeitgeist shifted. Youtube tutorials and guides were non existent, but Saul and Will had the affliction. A bold move, and certainly no mean feat considering the fact that this took place almost two decades ago in a time when the sheer amount of equipment required to even consider producing, was only eclipsed by the technical difficulty of actually knowing how to use it all. Aside from being musically obsessed, the pivot to production came with the hope that they’d be able to secure more bookings, if they produced their own music. They got there by piloting a pastiche soundscape, comprised of some of their favourite elements from cutting edge dance music.īut before all that, they were just a humble pair of budding DnB DJs, trying to put themselves out there. Saul Milton and Will Kennard are the architects in question, who have etched (they’d probably say bombed), their better known monikers, Chase & Status, into the history books. Two British producers were certainly not fuelled by these existential musings, but have nevertheless achieved the timelessness that eludes so many that dare to create. Is it the desire to create something that outlives us? Bolstered by a constant awareness that our time on the planet is fleeting, so we create in an attempt to ward off the looming evanescence that inevitably awaits us all. Why are we driven to create? Are some of us just genetically predisposed with the compulsion to fill blank pages with our thoughts? Or transform jumbled sounds on our computers into cohesive melodic arrangements? Those that find themselves afflicted, will know that the obsession comes in many forms.
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