“Did You Hear That?” – +777000 Interview - +777000 Interview

Continuing Soul Feeder’s “Did You Hear That” series is Edited Arts very own +777000. A slightly unconventional interview format, we sit down and present artists with three tracks, gaining insight into their own practice and taste.

+777000 is EA cofounder, computer musician and self proclaimed ‘melodramatic coder’. Originally from Riga in Latvia, +77700 is a London-based designer and composer dealing with the difficult and fascinating intersection of club and ambient. Their allure with memory, the processes of resurfacing and adjusting are portrayed through their emotive coding.

After contributing to compilations over the years, their latest release Perma-Interval marks their first solo EP. This beautiful 4 track EP builds ambient momentum through repetition. Failing to ever end or start, it’s cyclical and hypnotic.

I sat down with +777000, virtually, and presented three tracks related to their sound and practice.

Congrats on the release of +777000 Perma-Interval, how has the response to the EP been so far? 

I’m really amazed by the support, especially the fact that so many people have made the effort to reach out directly – that means a lot. 

I wanted to present to you three tracks that link to your background, practice and the most recent release Perma-Interval. First up I wanted to share “Piers” by Torus: What did you think of this track? 

It’s beautiful! I love the calmness stretching into distress, the calm taking over again, and the cycle repeating. Uncertain like hope. 

I thought it would be great to share this track as it reminds me so much of your release. The level of intensity in ambient music is something I’m drawn to. “Percent” seems to be the overwhelming opener for this beautiful EP. What do you think is your inspiration for Perma-Interval

If there was a moodboard for this EP, it would probably consist of dispersed circus music, cathartic heartbreaks and electric snow. I once had an idea to make a release where each track sounds like the last track of an album. Perma-Interval is not quite there but it’s close. 

Perma-Interval is limitless, cyclical and never ending. Why do you think your production carries these themes so well? 

I don’t think that conclusions are realistic. A lot of endings are blurry and I feel that goodbyes tend to linger on. Maybe I’m resisting something when I make music. 

All your productions fill this vein of intense ambient sound, with some club elements. Perma-Interval does not seem to have any club elements, was this intentional? 

Not really. More often than not I sit down with the intention to make a club-adjacent track yet I end up with something to cry to (I wonder what that says about my clubbing experience). Ultimately, the elements are somewhere in there, you just can’t hear them. The way that “Percent” reveals itself reminds me of attempts to navigate the way to an illegal rave or a club you’ve never been to – just by playing a game of hot and cold with the emerging muffled sounds. 

Track 2 and 3 are mirrors of one another. Track 3, “Extimacy”, is more realized and uplifting. How did you go about developing this? 

It’s not the first time I’ve written mirror tracks or tracks with several parts. It allows me to interrogate myself and the samples, creating a sort of fictional world in between. It’s like I get to build multiple stories and develop different characters. I fantasize a lot when I make music – I get to do that because with code you get an instant outcome. I wouldn’t be able to do that with more craft-y tools like Ableton or Logic, I’d lose my train of thought in the details. 

The next track is “I just”  by Loraine James I know you’ll definitely know this track but what did you think? 

It’s full of sudden excitement. This is one of those tracks that I’ve attached to a particular memory that now seems to override all other associations – like an opaque, unofficial music video that persists in my head. Last summer, Loraine played at Venue MOT for a Resolution gig, and, as the track came in, I immediately thought ‘Oh, yeah, I love this track!’… it took me a few seconds to go ’Oh, wait – it’s on our label!’. That was a very cool realisation. 

You co-run Edited Arts, a label and event series which is at the core of London’s underground experimental scene. How has being involved in EA developed your productions? 

I’m slightly aware that my work as a musician might come to represent the face of Edited Arts. The association has introduced an added sense of responsibility. That said, I really don’t want people to think that my music is a ‘true’ rendition of Edited Arts’ essence or taste. Somehow, the part of me that facilitates music is a different identity to the one that creates.

How do you find it releasing on your own label? 

When it came to my own release, it was almost as if I wasn’t running the label. I think I needed that separation, and so Jo (the other half of Edited) was fulfilling the management entirely.  There was also a degree of safety and trust available – I wouldn’t expect any other label to offer such relentless encouragement. It’s easy to put off ‘coming out’ as an artist. The conditions helped me over that first hurdle, and it doesn’t seem as scary now I’m here. With the label, I hope that is something I can do for others too. 

Did you find running EA has given you a different perspective on production?

I wouldn’t say that my approach has changed much. That’s probably because I mainly use TidalCycles, whereas most of the demos we receive are not of algorithmic descent. Running EA, however, has given me a perspective on what productions speak to me, therefore helping me associate beyond the toolset. It’s nice to be a part of the Algorave community but I know I belong elsewhere too – maybe somewhere between club inspired ambient music and ambient inspired club music. 

The last track is “Gym Class” by Lil Peep. What did you think of this track? 

I love it, it’s one of the more innocent Lil Peep tracks. He doesn’t yet have most of his staple face tattoos (the crybaby one, the anarchy one, the ‘get cake – die young’ one …) – only the broken heart below his eye. I feel that. I used to draw it on my face when I had grills. 

At the same time, there is always a slight sense of misconduct when I listen to Lil Peep or similar. There is a book called Under My Thumb: The Songs That Hate Women And The Women Who Love Them in which feminist music journalists display and explain their non-feminist guilty pleasures. For me, that’s slightly relevant here.

“If your name doesn’t start with ‘lil’ im not sampling you”. Have you always had a strong affinity for popular music/emo rap? 

Yes, definitely. With emo rap – it seems that my 2008 taste in music finally makes sense. I used oscillate between artists like Lil Wayne and My Chemical Romance, now there’s a space in between. It’s a weird mix between self-assurance and self-doubt, between a sense of cool and agitation. With popular music, you also get extreme and pure/simple emotions. The lyrics can be very drastic, and I’m quite impulsive so that attracts me. I get the feeling that it’s okay to overreact in the space of pop. 

Lil Peep was known for creating genre-less music by sampling artists like Modest Mouse, Oasis, and Giles Corey. Do you think there is a similar intent with your productions using unconventional samples for ambient tracks? 

Of course. I love the challenge, it’s slightly amusing too. At the same time, it allows me to reconstruct, comment on or edit my memories in relation to specific music. 

Who’s your favorite “lil” to sample? 

I’ve probably sampled Lil Peep in every live set that I’ve ever played. It just works. It’s almost like a lucky charm. There are others that I sample, like Lil Uzi Vert or Lil Tracy but they work out less often. I like improvising when I code so that requires something that blends with my process. 

Perma-Interval is available to stream and purchase now via Bandcamp 


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