Devon Hansen is an artist of many mediums. As a musician and videographer, his studio productions incorporate engineered sounds, eventually folding into rhythm, bob your head and repeat. With a palette varied in dub world music and psychedelia, his compositions could be grouped into the LA beat scene of artists like Brainfeeder and Flying Lotus. Look out for his upcoming EP on Svetlana Industries (Teebs, BNJMN).

Next Thursday you can find him opening for the likes of Mux Mool and Gobby who will be performing at Cameo Gallery (11/8: TICKETS). Here he brings you a short Halloween edition of the Brooklyn Bass podcast, full of off kilter instrumentals and unabashed, spooky vocals. enjoy.


So you’ve recently made the move from California to the East Coast. Where were you exactly and what prompted this change?

I’m originally from California, but was actually living in Seattle before I came over here. It was a great place, I still miss it, but I needed to move to a city where I could get involved and meet the people I was already networking with over the internet. It’s a lot more convenient geographically, as well. It’ll be easier for me to go abroad when I can.


How has the LA beats scene influenced your work? Has instrumental hip hop always been an inspiration for you or were there other genres along the way?

I was listening to some LA beats when I was younger, but it was mixed in with material from all over the place. People like Dabrye and Prefuse 73 really expanded my ideas of what could be done with electronic music. As I got older I kept going back to the music that influenced the music that was influencing me, and ended up being most influenced by radiophonics, musique concrete, stuff like that.


You’ve also mentioned being a videoartist. What sorts of projects are you currently working on?

Phil Tortoroli and Cambo from The Kort have inaugurated an all-vinyl label out of Manhattan called Styles Upon Styles. The first record is part of a series called Bangers and Ash, right now I’m working on a video for a tune on that record. It’ll be out by the end of the month.


Are video and music separate entities for you or do they evolve together? What is your work process in relation to the two?

For now they’re very exclusive from one another, but when I have the resources I’ll be putting out releases with accompanying films. That’s a long way off at the moment. With Lotide, almost everything I draw from is involved in or influenced by cinema in some way, so the intention has always been to mould it into an outlet for visual things just as well as for music.


You’ve recently played with Hot Sugar over at Spike Hill, tell me about your live set up and how you’ve arrived at that certain arrangement.

All of the tunes I make are recorded in real-time, there’s not much editing involved so I try to get all of that into a set as best as I can. Everything’s done in Reaktor, I’ll plug it into Ableton and control everything with a PadKontrol. I’ve been partial to Reaktor for almost a decade, and Ableton’s the only thing that’ll let me use it live in the same way that I’ve always used it in production.


You have a release coming out on Svetlana Industries. How did you hook up with them and how long have you been working on this material?

I sent them a demo in 2010, they got back to me and we set up for an EP. It’ll be the material I finished in the summer of that year.


What should we expect from your opening set for Mux Mool and Gobby?

I’ll be playing some material from the upcoming record, versions of official and unofficial remixes, and a couple tunes from an unreleased full-length. Excited to premier a remix I just finished for Microburst. I’ll be selling CDs afterward as well.


Halloween Edition: Lotide 2012 Podcast

Bonobo – Intro
Illum Sphere – Kaleidoscope
Luviia – Ivory
S.Maharba – The Heart The Heart
Shlohmo – Naps
Spaceghost – Mono
Ace Mo – Contemplate
Ras G – Dishwater