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Whether it’s his long-term residency at Shine or his experience with composing film scores, each aspect of Phil Kieran’s established career has been subject to much focus and attention. What makes this all the more impressive is that this has all been achieved from the comfort of his hometown, Belfast.
When one thinks of cities rich in a variety of underground sounds, it must be said that Belfast is not usually the first that comes to mind. However, sometimes talent can spring from the most unlikely of places. So we sat down to speak to one of Belfast’s finest about learning the trade in a city far away from the echoes of the likes of Berghain or fabric.
Amongst all of the different projects that you have undertaken over the years, at the root of these accomplishments seems to be your life-long relationship with Belfast - How do you think the city has shaped you as a musician? Interesting question. I’m not sure I know the answer and it’s something I have thought of a lot. I do think living here has an effect on your personality. You will be a good fun person and more likely to be quite genuine, more likely to buy somebody a pint, give them a hug, listen to their problems. As far as being big achievers, for some reason we feel like, "Oh well, that would not be fair on everybody else.” Ultimately I think it makes us good people. As far as music I would compare us to Glasgow even the people are similar, we have a dark sense of humour and a good taste in music. I always toyed with making the move to Berlin but then I just thought that would make me like everybody else. I just like being myself and surrounding myself with good friends and family. I think that’s really important and I’m only going to find that in Belfast.
You made a name for yourself as a resident at Belfast's Shine. Do you think playing to a familiar crowd week in, week out, allowed you to experiment and perfect your DJing style? Honestly if I made a name from myself internationally it was from making records not DJing. But having the chance to play regularly in Shine (maybe once a month at the start) gave me invaluable experience to what works on the dance floor. Before I started DJing in Shine my music was very leftfield, experimental. I only got the gig because of Alan Simms, who was the promoter and DJ, liked my music and gave me some gigs. At the start I was playing live and people wanted to dance so it just pushed me in that direction.
Then I started to DJ more to warm up for other DJ's, so I have Shine to thank for the huge learning experience it gave me and also confidence which is very important. I always believed, and still do to this day, that it’s the power of just making good music that gets you to where you want to be, the same applies for today. You can market the shit out of somebody but if the basic core is rotten then it won’t last. I guess Shine was the place I learned to DJ properly and it was a place I tried all my new music out, I was very lucky to have that.
With fewer and fewer long-standing resident DJs in today’s club scene, do you think that young producers and DJ’s are missing out on vital lessons that can be experienced through a residency platform? I think it’s essential to have some experience playing out either live or DJing. It gives you such a good insight to what works on the dance floor. It’s a competitive game but I think if you’re not having much luck, just go and put on your own parties. Even if they are small they will give you some experience and just start building from that. People that run clubs or events will take you more seriously if you have already been trying and will maybe put you on if they think you have a bunch of mates you might bring along to their event. Try anything, as it’s better than just sitting in the house talking about it.
As well as tirelessly touring and producing, you have also indulged in composing film scores. How did the opportunity arise to work with fellow countrymen David Holmes and what was your approach to the new challenge? It was David’s thing to be honest. It was just an honour, he’s a good friend and does all sorts of interesting things. He is a lucky man!
Composing a film score must be very different from producing techno tunes that are solely built for the dance floor. Do you follow a similar creative process or tackle both art forms differently? I’ve only really worked on one with David and it was a totally different mindset than just writing music. I listen to him talk a lot about it, and yes, it is totally different, I would love to even try my own short movie some time.
Speaking of new challenges, can you tell us about your new 'Tapes' series and the story behind it all? I released a track called "Juicy " around 2003, and then I did a slight edit of it and released it again a year or two ago. Most people didn’t notice it was an old track, I think if you have been making dance music for a while you can see the tracks that stay sounding fresh and just have a vibe. There are extreme examples like New Order’s "Blue Monday " or "Spastik" by Richie Hawtin, they always just sound as fresh as they did on the day it was released. I just thought of making a style of house/ techno that was made up of lots of old samples and outboard gear. I was trying to get an authentic sound or "classic" sound, not adding current production tricks or fads. Just keeping it simple.
You have used a lot of older analogue equipment for this latest 'Tape' series - Is this as a homage to your earlier influences or is it simply about staying creative? I just seem to enjoy it more and the results are more random and one-off.
Not only this, but you have just released 'Hells Bells' and 'Felix says Go' on your own Phil Kieran Recordings label. What keeps you motivated to keep up such a busy lifestyle? I genuinely never get tired of writing music. I go crazy about it. It’s sometimes all that’s in my mind space. It even makes me unhappy about how much I obsess about it, just non-stop.
I've heard that your two year old son is the sample source on your latest release. Are you training him up early as a child prodigy and when can we expect his first major release? [Laughs] Yeah, well I was just working on the track and he walked into the studio. I stuck the headphones on him with the track playing and put the mic up to him, there was loads more vocals but I thought it might be a little self indulgent so I just kept it simple with the "GO" and a few other bits. Just like the random chance thing with music, sometimes it’s good to just roll with the accidents as it makes it more individual and therefore original.
When looking to the future is there anything else that you'd like to try your hand at over the coming years? I’d like to properly get into soundtrack work. I’ve only literally scratched the surface. I can see myself just experimenting more and more. I want to get into recording outdoors and using found sound a bit more. I’m also thinking of getting back into painting as I used to go to art college, maybe make my own short movie.
And finally, as 2014 speeds to a close – What else can we expect from you as we head into the New Year? I’m starting a new night in Belfast on the 29th of November and we will have them in secret locations with some cool new art to hang up. I’ve a few dates in North America and I’m playing Shine on NYE Belfast.
Listen to Pulse Radio.
