Marcus Campbell aka Acid House Therapy is headlining our first ever event at Kongs Bristol and will be playing a deep analogue 4/4 live set. We grabbed a few moments of his time to chat about what we can expect from his performance along with what makes him tick as a producer.
Hi Marcus! So you won our Facebook competition to play at one of our events. Tell us a bit about yourself.
I came to Bristol to make music years ago. Since coming to Bristol, I’ve played as a guitarist with UK dub pioneers Zion Train, started and ended my own project Dubrovnik, played with dubstep producer Guido, plus various other projects live and studio based. I have been producing again while recently working live with analogue real time instruments, a mixing desk and FX.
How would you describe your sound to people who haven’t heard your music before?
I like a nice bass line. I like the music to take a journey with troughs and peaks which I create with live desk and manipulation. I’m a big fan of Basic Channel, Moritz Von Oswald, Mathew Herbert and Mr G.
I’m also a big disco fan (I even have my own band), plus 70s electronica gods like Vangellis Jean Michele Jarre and Tangerine Dream. You will hear all of these elements in my set at Kongs.
How long have you been producing?
Since 1993 I think! I cant remember exactly as it was a bit of a haze and several brain cells were lost en route, so to speak.
How has your sound evolved since becoming a producer?
I’m making music now more akin to how I stared in the 90s with hardware and a desk. I’ve always loved live mixing as it presents me with new sounds, arrangements, new happy accidents, mishaps and impromptu soundscapes each time I do it. I’m a big fan of improvising this way.
This was how I started and the resurgence of cheap, well-designed, affordable analogue technology has allowed a new way of working for many musicians. I think this new analogue trend is really shaping how people are re-approaching music; its a fresh departure from making music with a screen and a mouse-the most unmusical process!
If we could wave our magic wand, what equipment would you wish for?
A massive sound system that rigs itself up where ever and whenever I want, has its own storage and team to rig it.
I’m a big fan of sound systems and the communities they speak to, create, and the cultures around them; there was a time when soundsystems in Bristol were doing regular nights indoors and outdoors, legal and illegal. They were important for this city’s music culture. Soundsystem culture has been levelled by laws imposed by governments over the decades, some got impounded, some locked away in garages for ever. I’m glad though that the dub system culture seems to be still at large. They are such impossible, impractical things to look after, to house and build, I tip my hat to the sound man and the box man – we owe them a lot. It’s a labour of love and they have influenced and inspired so much over the decades.
What equipment will you be using at Kongs?
A desk, some synths, some FX – I might even blow the dust off a few bits of vintage gear. If you hear any crackles in the mix from dusty faders and pots you’ll know what it is.
What can we expect from your set at Kongs?
Layers of rhythmic analogue sequences very heavily verb’d and spaced out, around 110-120 bpm.
What does the future have in store for you and your music?
More live shows at venues and festivals around the UK. With my project Acid House Therapy I intend to continue using my daytime job skills (music therapist) alongside mixing and sound mixing to bring joy to people’s lives in auditory and physical forms. I have sets coming up in the future at Blue Mountain and some festivals tbc.
I love mixing my tunes live, been doing it for years on and off and I’m really happy to be booked by the legendary CHK One!