Even luckier for us, Richard X has taken time out of his production schedule (he’s currently working with A*M*E and MKS, among others) to chat about the EP, his work with Annie and just what kind of trouble two friends can get up to with an online translator.
What is the energy like when you and Annie are in the studio? Do the ideas flow rather quickly, are there all-night sessions?
RICHARD X: Yes, it all happens pretty quickly. With this EP, we had a chat a few times before we met up about what the overall concept was. I’d started some rough backing tracks, but pretty much the EP was written and recorded in a week when she flew over. I seem to spend a lot of time laughing when Annie is in the studio — like, can we get away with saying that? Or could we really have that ridiculous sound there? Or can we really have a song called “Ralph Macchio”?
Indeed, you can and do. “Ralph Macchio” is just one highlight in a set full of them, as is “Mixed Emotions.”
We tried to use an online translator to create a verse for “Mixed Emotions,” but it was uncontrollable so we spent hours laughing at that as it got stranger and stranger. You can hear the useless result of that messing about at the end of the track. If we stopped doing stuff like that we’d probably have made an album! Often Hannah Robinson will be writing as well, and I think we’re all on a similar wavelength, so it always comes naturally and ends up being something we’re usually excited about.
The ’90s seem to be rolling back in a big way, and The A&R EP plays like an unabashed love letter to the dance sounds of that decade. Were there any ’90s records that influenced it directly or indirectly?
The Telstar “Deep Heat” compilation series was in my mind for much of the EP. The way you’d have an underground Chicago house track stuck next to a pop dance cash-in. But as a youngster you’d not really have that sense of which tracks were cool and what you were supposed to like, so you just drank the whole thing in. So although there may be specific bleeps or breaks on the EP, it’s more about that idea of pop permeating through all that.
That feeling really comes through in tracks like “Invisible,” a pounding, deep-rave workout that sounds like something vintage from R&S Records, and the Italo-housey “Hold On.”
We weren’t slavishly trying to recreate a specific sound, more like use elements and ideas from a sprawling five-year period. Things like the simplicity of productions back then and also the difference in lyrical themes, that sense of optimism and possibility was appealing and was all thrown in the pot. With the ’90s revival rolling it sort of feels like the ’80s finally ended last year.
Annie — “Anthonio”
What’s coming up next for the Pleasure Masters (the independent label, on which The A&R EP was released)? A full Annie album, by chance?
Annie’s got her own plans, but you never know. Pleasure Masters is a bit sporadic to say the least. Like with this A&R EP, it’s great to be able to do exactly what you want on a record and make it happen. When working on productions for other labels, or development work for new artists, there’s often frustration at how long things take to appear, and the amount of indecision can be a bit wearing, so it’s a good counter to all that. “Anthonio” was an example of something Annie, Hannah and I had done but was caught up in label politics, so it was great to be able to go, right, let’s just put this out, stop messing about. “Let’s have a photo with Annie smoking a cigarette holding a baby” — that’s the sort of thing Island Records, for example, might not think is the best marketing plan for a release, but it feels right to do it.
Will Young — “Jealousy”
As a producer, you’ve been very selective with the projects you’ve taken on. How difficult has it been to stay committed to doing what you want to do in an industry that always demands the next smash hit?
If I’m going to be spending time listening and working on music, it’s got to be something I like, or it’s not going to work — so there’s no point for anybody. That’s been my policy from when I started. It’s common sense, but not every producer thinks like that. Pretty much everything I’ve done has come from the artist liking a previous record, remix or song I’ve made, and that’s how I’m still not on the dole. Will Young’s Echoes was a big album, and that came from him liking Steve Mason’s “Boys Outside” that I produced, for example. The last couple years there’s probably been less hit records on the radio I’ve liked than previously, and there’s no point chasing a sound if it’s not something you are into musically.