Interviews

Bad Colours is shortly to release his sensational new album ‘Promise’ on Bastard Jazz. The Brooklyn-based producer, DJ and multi-instrumentalist returns with his fourth album on the label. This new project marks another evolution for real name Ibe Soliman and features a host of talent like Life on Planets, Cor.Ece, Brandon Markell Holmes, Ninjasonik and Jarv Dee. We get the chance to sit down for a chimney side chat with this brilliant artist.

Where does the impulse to create something come from in you do you think?

I'm not sure, it's just something I do every day. I couldn't imagine not doing it.

What roles do stuff like art, relationships, and the current state of the world play for you in the ideas process?

Luckily, I live in NYC so there is plenty of art/people around to catch inspiration from. This album was pretty personal, so relationships played a huge role in this one.

For you to get started, does there need to be concrete ideas for you to make a track?

Most ideas I have aren't all the way fleshed out. Improvisation plays a big part in everything I do, down to the last mix.

Is there a preparation phase for your process?

No prep outside of being very organized in my DAW so little time is wasted creating.

For your latest album what did you start with? Were there conceptual considerations, what were they?

'Underwater' was the first one, and it kind of snowballed from there. With 'Promise', the idea is that when you're with someone, you make a promise to them and everything good/bad that comes with it.

Tell us a bit about the way the album developed and gradually took its final form.

'Underwater' was a feeling I had at that moment, and then I started to go through how I felt about lots of parts of my relationship. Most of the features came from my ideas, and thankfully, everyone really came through and executed on those feelings.

The album is comprised of some varying tempos and styles. Was this central to your idea for the album?

Yeah, the great thing about making an album I can touch on some areas outside of the club. Most people come to me for the club stuff.

How much tweaking do you allow until you're satisfied with a track?

I'm usually tweaking until the end. I like to give tracks space before the final version, so I might get it to a point I think is done then months later, change something.

After finishing an album and putting out there, there can often be a sense of emptiness. Can you relate to this?

Not so much. More of a relief, honestly. I'm always making stuff every day.

Do you find that the feedback of others is important to you?

For the individual tracks, I try to make sure the artists who are featured are happy with the final. Outside of a few friends whose ears I trust, not so much.

Are there sometimes misunderstandings or does feedback from you peers help you to gain new insights?

I usually gain great insight since most of the friends I trust with it don't make dance music.

What was most important for you to convey throughout this album?

This one was more therapy for me. I've been pretty quiet about my personal life, so maybe people can get a look into who I am.

Is there anything else you would like to tell us about Bad Colours?

I'd just say that everything I do, from music to visuals, comes from a personal place of curiosity. I like learning, experimenting, and finding new ways to make ideas hit emotionally. I think that mindset keeps me adaptable and collaborative, and it's what keeps me moving every day.

Check out the latest release from Bad Colours.