In any creative vocation there is usually a trade-off between quality and quantity. I say USUALLY because it's only the usual thing; sometimes you get both at the same time, but often you make a LOT of stuff of wildly varying quality or you make REALLY GOOD stuff, just not very much of it. Harrison seems to be one of the rare few who has to make absolutely no trade-off whatsoever. He makes a lot of music at a consistent level of (very good) quality. From edits, remixes ('Zelda Menu', anyone?) and future funk joints dripping with obscure samples, to more recent stuff that is almost wholly "original", Harrison's back catalogue already bulges with greatness.
Particularly interesting is his very recent 'Connect ✿' series, in which Harrison tries to portray the thoughts and feelings of his female friends based on conversations with them. Not only is the concept itself unique and rather sweet, but the nature and styles of sound that Harrison can explore here goes beyond the boundaries of his inaugural sounds: compare the already-classic 'Sunshine The Street Cat' with the most recent Connect, 'Charlotte', and you'll see what I mean. A summer-flavoured soulful funk mirage, and a pattering juke track with Rainbow Road flights of fancy. Totally different.
Happily! The clearly quite busy Harrison was happy to delve into a Lazy Interview exclusively for YES/NO. Actually, forget that, not exclusively, cause, well, I just asked him. That was all. EXCLUSIVE is in its meaning and its origins an ugly word. Read up.
Who are you? Where are you from? What do you do?
My name's Harrison based out of Toronto and I'm a producer or instrumentalist.
Why did you decide to start creating music?
I was super bored and was going through a "rough" time in my life. It really actually started out as a joke with a few friends and I didn't want to stop. Boar M'londe showed me how to use Reason and we actually started out as a group (HMPF). We didn't break up or anything we just didn't make music at the same time because one of us would be gaming while the other one was on his computer.
How would you describe your sound? What makes you and your style stand out?
I honestly can't answer that because I don't know. I haven't found it yet which is starting to piss me off.
Is there a perfect time and place for listening to your music?
Depends on the album. When it Rains was made for the Fall and Prom King was made for the spring. Anything in between I really just made so people would dance and stuff.
What inspires you most when writing a song?
What is your most memorable musical experience?
My first show. It was at a tea shop that my friend's brother owned. She started this event called "wholehearted" which essentially brought artists together in the least non-pretentious way. I just remember my hands shaking so heavily and shit. The girl I was into showed up with a guy and I drank too much and all this shit. After it happened, I don't shake anymore.
What are your favourite three songs at the moment?
- Forever by Chris Malinchak
- Loving Free by Spazzkid
- California Soul by Marlana Shaw
Who do you most admire in the music world?
Definitely people who aren't giving up on the old school. The people who don't need to express their music through words and the people who aren't afraid to make happy sounding music. Onra basically.
In your opinion, what is the future of music?
My opinion is really strong on that. I can't answer that without sounding like a dick so I won't.
What's the future of your music - what do you hope to do next?
I don't know. Going to release an EP and an edit tape hopefully. I hope my "following" is open minded though. I'd really like it to be my best one yet.
What, aside from music, is most important to you?
So it's clear that Harrison likes females. An inspiration, a great importance in his life, and literally the basis of some of his newest, most different tracks, it's nice to hear an honest love appearing – for whatever reason, Harrison and females just go, like peanut butter and jam (jelly whatever). It's clear to see in his 'Connect ✿' series, how he reflects the mind-numbing boredom of a girl daydreaming at school, thinking of better things to do, the lack of direction, the somehow sunny and vague sense of worry. Even without lyrics, Harrison makes his music deliciously human, connective and energetic and at all times hopeful.
Feeling as he is "pissed off" at not finding a definitive style, well, if I may speak for a wider group of listeners, it's fine. In fact, the variety is great. We dip in here, we dip in there, we are never bored with your sound. I mean, perhaps this reflects an overstimulated generation, of which I am also a part, one that is indecisive, unsure – but why can this not be a good thing? Why can this not be a thing in itself? It might be the case that Harrison's style is one of fluid mutability, underpinned by a continual search for a "defining sound" – no exhaustive goal but the variegated journey itself – and if it is so then let it be: people clearly love him for it.
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