Product Of Industry: Mark E Interview

Mark E talks about his new album, Product of Industry, and why he wanted to capture the often-overlooked soul & spirit of Birmingham.

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On his second record, producer Mark E interprets the character of his homeland, both past and present. Product Of Industry is steeped in the culture of England’s West Midlands. The album’s title is a nod to his home, which lay at the heart of the Industrial Revolution, the subsequent decline in industry throughout the 1970s and the most recent economic downturn, in which Mark lost his job. He notes how he himself is a “product of industry”, coming from a family lineage working in the industrial trade, but also how his unemployment initiated his steps in becoming a musician. The new album moves away from the sound of his debut, Stone Breaker, which relied on digital equipment, in favour of playing synthesizers and figuring out the music in a physical, organic way. The result is an album of house music brimming with hypnotic rhythms and dynamic beats, sometimes to a grinding, persistent effect, referencing the processes of manufacturing whilst maintaining a warmth and charisma. It also features recordings of life and the people of his hometown. Mark spoke to Polari about how he particularly wants to capture the often-overlooked soul and spirit of Birmingham through his music and how he is not shying away from showing his roots. 

The new album Product of Industry is inspired by the history of the Industrial Revolution and the culture of where you and your family are from in the West Midlands. How did this theme form the core of this new work?

I just wanted the album title to have a link to how I arrived at this point in my career, to signify how circumstances have led me to be here, releasing my second album of music on a record label like Spectral Sound. Given the lack of musical background in my family it’s quite strange, I think. Who would have ever thought it? Perhaps if the global downturn hadn’t happened I would still be doing what I used to do and would never have taken the leap of faith to try music as a career.

The music itself is where I am today, it wasn’t produced to try and symbolize this theme, the repetition, grinding pushing nature of the music I make happens to depict the theme quite well, the name and ethos suited this title, or vice versa.

The album opens with a field recording of voices, and what sounds to me are snippets from a café. They crop up again over the record. Can you tell me more about this idea and the significance of this has for you? 

I really loved living in the West Midlands, Wolverhampton & Birmingham and all my close friends and family still live there. Birmingham especially is like a secret, if you live there you know the joy it holds, and to outsiders from the south and the north it’s easy for them to put the place down. It’s often dismissed by the media and I seem to be forever standing up for it. The regional dialect is also often portrayed in a poor light, so with the vocal snips I just wanted to show it off and to lay it next to the tracks, as if to say this is where the music is from; this is how it all sounds. I also like the idea of people in Japan or America to get a taste of the Brummie twang.

Acknowledging the album’s title and the idea behind it, I’ve been thinking about the relationship between humans and ‘the machine’ in every sense (computers, phones, machinery). It has brought home the fact that although we may build the machines and technology, but they in return build us in a way too. It’s a reciprocal relationship. Was this something that you were thinking about when figuring out the album’s meaning?

Not really, but I know what you mean. With this album I really got to grips with using hands on electronic instruments, rather than producing through a computer. Instead of having rigid perfectly placed notes, beats, rhythms etc. I record straight from the synths in real time, changing parameters as I go along the full length of the track. To me this was a totally new way of working and the results I think sound a hell of a lot more organic.

You’ve previously said that the reason you tried your hand at music was because you were made unemployed. When that happened did you have a ‘now or never’ moment? 

Yes totally, it was always a dream to try out music full time but quite a gamble too considering the commitments I had to meet every month. 

Was the experience different making this record compared to Stone Breaker? Did you feel more confident going into this one?

Yeah I did, I was totally happy with Stone Breaker, but I’m massively proud of Product Of Industry. I feel my skills have improved hugely between the two albums both musically and technically. Using equipment outside of the computer was the big difference in how this was produced. 

Although the music can at times be forceful and vigorous, much like machinery, there’s also quite a meditative and comforting aspect to it as well. Was this something you considered when making it?

My music has always had a trippy repetitiveness to it so I didn’t approach it in any new way especially, and I like the harshness against the subtle. I think if done properly it can really work.

And on that note, do you think the stereotype that electronic music is artificial or soulless has been finally put to rest now? Have you ever been questioned about the emotionality of electronic music? 

I’ve never thought that electronic music is soulless. Whatever genre, style or way of working the soul has to come from the source: the musician. As for emotionality of electronic music, well I don’t know, each person is so different in how they get emotional with music. I know I can get a bit teary-eyed at some of that old House, especially lately with the passing of Frankie Knuckles; the music he produced seems to hold so much more emotion now he has gone. It’s earth-shaking stuff.

There’s only one song on the record that features a vocal line and lyrics. Do you feel music can say just as much without any words?

Massively – probably more so in fact. If it grabs you deeply, your imagination can run wild with it. 

Have you considered collaborating or producing for another artist?

I’m currently collaborating with some friends on a project for a new album, so yes I’m open to getting together with other people. I think it’s healthy to bounce off other people. I used to be very closed to this but can now see the merits. 

Can writing and producing an album be lonely at times or do you just immerse yourself in the process?

Never lonely, I like working alone. I like the solitude, it’s very enriching to get into something like this. It becomes very personal.

Do you hear songs first in your head or do you have a more instinctual and organic approach to writing music?

I never hear a melody in my head or try and sing it to remember it or anything like that. I just sit down in my studio and mess about, play with sounds, try ideas out getting rolling that way.

As the album is quite intricate and detailed, is there any song in particular on this record that was difficult to tease out in a direction you wanted it to go?

True, some do flow out easier than others but in the main I can make it go where I want it to. ‘Being Hiding’ took a few versions before I nailed it, but so did some others. But I feel I got there with all of them, and as a whole I’m really excited about the album. I’m very proud of it.

What’s been the most rewarding aspect since changing careers and becoming an artist?

Doing what I love for my job.

Click here to pre-order your copy of Product Of Industry out on Spectral Sound on April 28. For more information and tour dates, check out his official Facebook page.