Track By Track: Lto - The Number From Which All Things Come

Music

There is a distinctive nod to times gone by throughout the course of LTO's latest LP. Titled 'The Number From Which All Things Come' there are pensive moments which allow for reflection upon a musical era gone by as The Old Apparatus member nods to early elements of jungle and trance at various points across the record. It's music for the midnight hour, for the thoughtful ear and requires a considered approach. Having recently been released on Sullen Tone records the release could be said to be a reflection on the changing landscape of Bristolian electronic music and a link to the days of evolutionary bass music gone by. We caught up with LTO to talk through his latest release track by track…

AGAIN

Colour: Dark teal

Season: Autumn

Inspiration: The starting point was stumbling across a really old synth string sequence that had a euphoric trance feel about it and I stuck it through an effect that elements an old TV speaker. The beats started of with some samples of motorised faders that I pitched right down and made into a rolling syncopated rhythm.

Setting: I was in my old bedroom at my parent’s house just before I went travelling around South America.

Ideal setting to be heard: In a sewer

REVIVE

Colour: Amber

Season: Spring

Inspiration: I started this about 10 years ago with my girlfriend at the time. She got me into a lot of glitchy electronica stuff when bell-like sounds seemed to be popular.

Setting: At my girlfriend at the time’s flat in Austria.

Ideal setting to be heard: In an insect hotel.

BODHRAN

Colour: Byzantium

Season: Winter

Inspiration: I was playing around with a sample library of Celtic instruments and liked the textures of the bodhran drum and started building a garage-style triplet beat with it and then compressed the fuck out of it.

Setting: In a big old house I used to share with Old Apparatus posse in East London.

Ideal setting to be heard: In a wind tunnel

ONE GIRL

Colour: Persimmon

Season: Summer

Inspiration: I was going through some of the few vocal ideas I lay down and this tune I wrote about a girl I met at a party who seemed sad popped up. I cut up all the syllables and spread them across a keyboard and played around with them until a few catchy sequences emerged.

Setting: In another house in East London I lived in that had previously been exorcised for the ghost of a woman who was murdered by her husband in 1944.

Ideal setting to be heard: In an aircraft hanger