In The Company Of Mathew Jonson

Mathew Jonson is a man that needs no introduction to lovers of techno. The Canadian burst on to the scene in 2001 with tracks like ‘Typerope’ that were picked up by Ricardo Villalobos and DJs worldwide. He has since founded the hugely influential label Wagon Repair, which he has nurtured into an established outfit for artists like Konrad Black, Seth Troxler, Ryan Crosson, Minilogue, Dinky and his brother Nathan Jonson aka Hrdvsion (who Mathew collaborates with under the guise Midnight Operator).

Not content with running a label, producing solo material and touring across the globe, Mathew has collaborated with a number of other producers and artists over the years namely forming the group Cobblestone Jazz with fellow Canadians Danuel Tate, Tyger Dhula and now, The Mole. His use of synthesis is second to none and ‘Marionette,’ perhaps his most well known track, has become a classic record inspiring a generation of fellow artists. Most recently, at the beginning of this week even, Mathew finally unleashed his long-awaited debut artist album on Wagon Repair. ‘Agents of Time' is a 10 track collection of Jonson’s art, building upon his signature sound by veering into slower, more expansive, more contemplative territory. We are beside ourselves to be hosting his live set on our Room One stage this Saturday.

While you read, we pulled a special treat out to celebrate the release of his debut album - here's the set from Mathew's live London debut at fabric in 2004. Enjoy.



Hi Mathew, how are you?
Im good thanks. I just had a great weekend with the guys at Cityfox club in Zurich and now in the studio all week getting ready for fabric this Saturday!!

What is your earliest memory of music?
My father is a musician so it would be him of course singing and playing the guitar. I was lucky to grow up in a house filled with all sorts of musical instruments and as kids we were always allowed to play them. There were drums, flutes, dulcimers (hammer, and other kinds), electric and acoustic guitars and even slide ones played in blues, folk instruments like spoons and washtub basses and washboards, even a harpsichord. My parents enjoyed having their friends over on weekends to play music and sing songs. Usually the musicians that would perform in the theater that my dad helped run would stay at our house so I was around music all the time.

What were you like at high school, was this when you first discovered techno?
Yes I discovered techno first on the local university radio station CFUV. A DJ, and now friend of mine, by the name of Ice E Fresh would play on there every week and thats how I found out about techno. I met some girls that took me to my first rave and then was introduced to other people who were writing electronic music. One of the first was actually a party that Tyger Dhula (from Cobblestone Jazz) was doing, where Derrick May and Juan Atkins played at. We did not know each other at the time but it's funny how things worked out and now we have a band.

With regards to your early work, what inspired you at this time in your life?
Mostly hip hop and rap music as I had never heard techno or house at this time. But also some early electro like Cybotron - Clear, Rockit from Herbie Hancock, and Goodlife by Innercity (Kevin Saunderson). I was really obsessed with break dancing when I was young so also things like Kraftwerk and stuff from the Breakdance movie soundtrack.

How long have you been thinking about releasing a solo album?
A few years. I decided though not to release anything and put my focus on Cobblestone Jazz instead though as I was planning to move to Berlin so did not have much time to write with them over the last year before I left Vancouver. I'm happy I waited though, I like how this album turned out more than the last ones I had that were not released.

What does the album’s title, ‘Agents of Time,’ refer to?
It's about time travel and futurism for the most part. I draw a lot of inspiration from the idea of technology and the future as well as inter-dimentional time travel.

The album consists of predominantly new material but includes a previously released single and a new version of perhaps your most well-known track, 'Marionette.' Was there a reason for including these tracks?
The version of "Marionette" is actually the original version that was made before the single that came out and was never released. I thought at the time that it did not have enough happening in the track but now actually prefer the simplicity of this one if compared. I wanted to include "When Love Feels like Crying" as it was made during the same time period as the rest of the music on the album so seems to fit nicely. I also was going to originally have "Ghosts in the AI" on the album as well but decided it was better not to have so many previously released tracks on it.



Being a member of Cobblestone Jazz, what are the benefits of working by yourself?
I go deeper when I'm on my own.  It's something a bit more personal and more meditative, which is necessary in my life.

Is there anyone else you would like to work with at the moment?
Squarepusher, or some drum & bass guys would be fun. Or vocalists would be great. It would be fun to work with Nelly Furtado again sometimes I miss working with her, it was fun.

What’s next for you musically? Are you happy doing what you are doing for the time being, or is there something else you would like to test out in the next 5 to 10 years' time?
I really would like to do more film scores. The one I did with Cobblestone Jazz and Hrdvsion for the "Faust" soundtrack was so fun. A ton of work...but very rewarding. I hope we can release it soon, we are still waiting for rights from the German film board.

After having a sneak peak of your studio on YouTube, if you had to choose 3 pieces of hardware over all the others which would you chose?
The TR- 808, SH-101 and the Super Jupiter. With those alone I could still make music.



Was there anyone who guided you through the science of producing music or did you learn completely by yourself?
For the first 8 years I was self taught and then after I found the rave scene I met people like Thomas Greenwood (who introduced me to analog equipment), Patrick Simpson (Tyger Dhula), Danuel Tate, and The Mole that helped me learn a lot more. Then I learned how to DJ from guys like Eric Audet, Ezekiel Hagar and DJ Wood, and this gave me a deeper perspective on how techno and house was made.

Do you have any advice for producers starting out?
Sure...don't try and make finished tracks at first, just experiment for the first few years. It takes time to develop a sound so take time to practice just like you would if you were learning an instrument.

If you could turn back time and do something differently what would you do?
Wow...that's a tough question.  Maybe take back pictures of the forests and ice caps and people in poverty to the scientists and governments in the past to show them what a mess we have made...and then hope that things change.