L.A. Producer Leech on "Chrono Dance" and His Favorite Music Tools
When L.A.-based DJ and producer Brian Foote, aka Leech, isn't busy running three labels or making tracks for bands like Zola Jesus, he is procuring a sound he labels as "chrono dance." While his musical accomplishments have spanned eight years, he only recently released his first EP, Tusks, this past February. Released on the 100% Silk label, the four-track EP is a hazy acid trip through minimalist techno and house. We recently spoke with Leech about playing Boiler Room, what he's listening to, and his upcoming projects. He headlines Haçeteria this Friday at Slate Bar.
With all the music endeavors you do, which is the hardest artistically?
The "art" part isn't usually the problem for me; really it's just trying to fit everything into a day. Scheduling is the hardest.
You played Boiler Room a few months ago. What was that experience like?
It was a little crazy space-wise, as they typically have just a few DJs and the Silk crew rolled in there with four piles of hardware. It ended up being a great little party. It was my first time playing with most the folks on the bill. I'm a fan of what that website does.
Tell us a little about your newest EP, Tusks. How does it feel to have your first official release?
It's a four-tracker that came out in February. I'm really happy with how it turned out. After working on collaborative projects for years and years, it's a new feeling having something out that's just myself.
What's up with the teaser vid you made for the 12-inch?
I had wanted to mess around with a video project that utilized the Xbox Kinect and a HD camera for a while. I came across an open source toolkit that made coupling them much easier. It seemed like a perfect chance to try it out, so I took some test shots of myself dancing. The glitched aspect came from a sloppy calibration, but I kind of like it even better than the standard result. I think it's in keeping with the "let the machines express themselves" intention behind Leech.
The release is labeled as "chrono dance." Can you enlighten those who don't know what that is?
Well that's something Amanda grabbed from a made up genre name I thought up. It's open to interpretation, but my thought was techno is to technology as chrono is to time.
Since you work with so many musical machines, which is your current favorite and why?
This changes just about every session for me, but lately I've been in love with the Roland MKS50. It's portable, it's analog, it's stereo, it's still relatively cheap, and it makes beautiful pads, a serviceable bassline, and of course the famous rave noise, the Hoover.
What are you currently working on?
I'm getting together the next releases on Ecstasy, Audraglint, and Peak Oil. I'm also finishing up a bunch of Leech and doing some mixing work for a forthcoming Magic Touch release.
What's one of your favorite tracks at the moment?
Right now it's Paul Johnson "Don't Stop Movin Your Ass." I love that middle period of Dance Mania's catalog where it warped from hard house to juke. I'm really excited to be able to swap out some of my thrashed copies of those 12-inches now that the label is coming back out of retirement and will be reissuing titles.