Like almost every other artist on Underscan we met GRAM aka Graham Love over the web.
As we listened to his music for the first time we knew he was just the right person for an
upcoming release. Amazing sound explorations and weird beats define his music where
sounddesign takes a great part during his production process.
Originally from Winchester and now living near London, Gram graduated some years ago and is now working in the telecoms industry. He learned to play several instruments at school and college but now produces music exclusively using computers.
Using Impulse Tracker (an old DOS-based sequencer last updated in 1995) and a range of commercial and freeware sound editors and plugins, he creates many sounds from scratch and mangles the ones he's taken from other sources.
Having grown up on a mixed diet of classical, latin, grunge metal, punk, jungle, funk and hip-hop music, he's fascinated by rhythm, timbre, and harmony. Anything goes as long as it fits in the mix. There are no set patterns or rules in Gram's working style so every new track is an experiment - balancing one part against another and seeing what works.
Additionally here are some questions we send him over to describe his ideas behind composing:
> what inspires you?
Natural sounds (there's a set of railings near where I live that has some awesome harmonics) and rhythms (funky walking), and synthetic versions of the same. Almost every waking minute is spent listening to music so other peoples' work has a massive influence over me. I could list every artist, producer and label that I admire but that would get boring fast. Everything I experience through being alive influences me in the way that I think, talk, dress, write music, etc.
> how u would define your own music?
I don't feel conciously limited by genre boundaries, rather, the music just grows in it's own direction and I have to try and keep up with it. Some of the things you hear on this EP started off as emulations of other music I admire which twisted themselves as they developed. Others were inspired by pure accident. The glitch percussion sounds on Incest Intro, for example, was made by abusing Impulse Tracker's directory caching system and trying to load files that didn't actually exist.
Published in: bi-wire.co.uk
Superb electronix for the more discerning electro lover. Side A features crunchy distorted beats that are forceful without being noisy. Drenched with warm keys and swirling fx, and a grinding bass. Music you can almost touch. Flip for a bass of the dubwise variety mixed with some edited vocal snatches from the old school, firmly re-evaluated. Staggered electro of th minimal variety with a great melodic flair. Bitsream fans take note!! Second in is a more schizophrenic take on the radio dial, flipping through vocal snippets, grinding bass and a good slice of booty pie. Mash up!! Lastly we arrive at sun drenched keys full of epic spacial quality and emotion. Five tracks of confident electronix well worthy of the Biwire recommendation..
Published in: De:Bug
Das Berliner Label Underscan kommt mit einem neuen Act, der seinen Namen (Gram) von seinem Namen hat, Graham Love, aus York, deshalb ist es auch egal, dass es sich ein wenig nach Gramm anhört, ausserdem sind diese wuchtig schmetternden Harddisc Monster eh das Gegenteil, da schließen sich Verwechslungen von selbst aus. 5 extrem funkige Tracks mit angebröselten Samples und granularen Sounds, mit übersprudelnden Melodien und satten hyperaktiven Beats, die immer wieder in Ruhepausen Luft holen, um uns ihre nächsten Einfälle zu verraten. Und deep bleibt es dabei auch noch. Sehr quirlige upliftende Musik.
Published in: Freq.org.uk
Flecked with dirty digital debris, the scattershot breakbeats of "Incest Intro" stagger out of a whirlpool of shifting, flanged electronics shuddering
with misplaced filename chaos, heralding Gram's particular take on microsound composition. Graham Oliver's sound falls well within the current
expectations of software music, though with a suitably off-kilter feeling which can happily incorporate silliness among the clever layers of
programming."Simple Funk" itself is a brightly wandering collation of uprising chords, twinkling stabs of trebly light and inhaler bass rhythms, while
"Ah Yeah" wibbles to itself in rapidly-sketched glitch phrases, and even includes a stuttery vocal sample shoved through delay FX spirals.
"Pussy Jazz" fizzes in a collage of spoken TV snippets and some frantic hyperspeed Drum & Bass mania which soon twists itself into soundcard
synth evaporation. Last up on the EP is "A Strange Feeling Of Fulfilment", where some further FM dabblings lead nowhere very much except flatly
circuitous discordance with more of a head scratching than satisfying impression left behind.
Published in: smallfish.co.uk
Two long tracks of quality electronics. One side is rough and gritty, with loads of glitch, offset by melodies creeping in underneath. The other side is a frenetic, yet funky track, incorporating mashed up vocal samples. Both dark, both good.