Name: Brian Johnson

Nationality: Canadian
Occupation: Producer
Current release: Brian Johnson's The Second Company LP, featuring Yasiin Bey [Mos Def] and an Organic Life Remix, is out via Master Chef Music.
Recommendations: Shogun - James  Clavell; Foundation - Isaac Asimov

If you enjoyed this Brian Johnson interview and would like to know more about his music, upcoming releases and live dates, visit him on Facebook. 



Where does the impulse to create something come from for you? What role do often-quoted sources of inspiration like dreams, other forms of art, personal relationships, politics etc play?

It varies, sometimes it’s something inside that I feel I have to get out of my head, other times I hear something that inspires me like an old song or a DJ mix at a party.

I never try and schedule a creative session. I like to strike when the iron is hot. I feel that’s when the creative juices are properly flowing to make something memorable.

Of course (like most artists) I dream of having that acknowledgment and respect of being a solid producer with top charting music or what not. But that’s not my main mission when I’m creating. My main priority is to make music that is in high regard, something that gets heads nodding and feet moving.

For you to get started, do there need to be concrete ideas – or what some have called a 'visualisation' of the finished work? What does the balance between planning and chance look like for you?

No, nothing really has to be in concrete.

I agree sometimes I like to lay a “foundation” and use certain tools to help me get to the end goal. But mainly it’s all about making it all blend together in its own unique way, not forcing things just because it was originally planned that way.

Do you have certain rituals to get you into the right mindset for creating? What role do certain foods or stimulants like coffee, lighting, scents, exercise or reading poetry play?

Yes, I like to sprinkle a little bit of white rum in each corner of the room and light some incense like Lee Perry (RIP).

No, I’m just playing. I just get straight to it. Nothing special here.

What do you start with? And, to quote a question by the great Bruce Duffie: When you come up with a musical idea, have you created the idea or have you discovered the idea?

I normally start with percussion. I feel percussion is the backbone to the song. The odd time I’ll start off with some synths but normally the percussion.

And yes, I feel I’m creating - not discovering. The only time I would consider it discovering would be when a sample based composition is made. And even then if it’s unrecognizable, is it not creating something new?

Many writers have claimed that as soon as they enter into the process, certain aspects of the narrative are out of their hands. Do you like to keep strict control or is there a sense of following things where they lead you?

I have to agree with that. It’s a good idea to keep things in the same ecosystem. As much as each artist has to define their own unique signature style, individually every song should have its own set of rules that musically / sonically work within its own parameters.

Often, while writing, new ideas and alternative roads will open themselves up, pulling and pushing the creator in a different direction. Does this happen to you, too, and how do you deal with it? What do you do with these ideas?

Yeah, I feel this is just a natural part of the process of making music. Sometimes it works out and sounds amazing, other times it doesn’t end up exactly what you thought it would sound like.

When this happens with me, I like to take some elements and start fresh or get another producer/artist to give some insight on what they think the track needs in order to be completed.

When you're in the studio to record a piece, how important is the actual performance and the moment of performing the song still in an age where so much can be “done and fixed in post?“

Probably one of the most important parts of creating music, without that everything just kind of sounds robotic. The “real” humanization (not the digital point and click option) of electronic music separates basic from advanced artists. Getting in a groove or getting in the metrical pocket while creating can be felt by the listener. Especially when sequencing and transitioning the percussion leads and bass.

Getting a good performance makes it easier to feel out where things naturally need to be, and if they’re not working out how to rhythmically slide them in place to make them work effectively.

Once a piece is finished, how important is it for you to let it lie and evaluate it later on? How much improvement and refinement do you personally allow until you're satisfied with a piece? What does this process look like in practise?

When I feel a song is complete and ready for mixing/mastering I leave it for a day or two and come back to it with a clear head. I make sure it has all the elements required to sound fulfilled and engaging. This is a key part of my process.

Occasionally I find some elements that are missing (ie. transition effects, layered synths) that need to be added. I try to also keep in mind that “less is more” in most cases and try not to overdo it.

After finishing a piece or album and releasing something into the world, there can be a sense of emptiness. Can you relate to this – and how do you return to the state of creativity after experiencing it?

I can, to be honest, it’s a good thing. Building up a project can be quite draining, especially if you’re hypercritical of your own work. For me it’s nice to have a break. After a while, I will re-listen to the release and see if it was as intended and get a fresh feeling of how the project will impact the public.

In terms of reestablishing that creative feel, it’s nice to try and outdo your previous works. It’s good motivation to get back in there and repeat the process with what you have learned.