Al Zanders interview: “I’ve had to drag myself kicking and screaming into the world of Reels and Tiktok…”
Fast rising house hero Zanders in conversation
Al Zanders has clocked up dozens of releases on labels like Phonica, A-Z and Blind Jacks Journey, but it’s his relationship with Roy Davis Jr’s Undaground Therapy Muzik label that’s really seen him gain attention for original, soulful but playfully experimental house grooves. As his latest three tracker, ‘Stars of IG’, surfaces on the label, we decide to track down Al and find out more…
Hi Al, first of all, could you tell us where you are as you write this, where you’ve been today and what you’re up later?
Just been for a walk by the Thames, now I’m at home. Currently I’m in a honeymoon phase with Spotify, having just switched from Youtube premium. Lots of fun finding new music while going for strolls in the evenings. Later I’m going to see my friends put on Jenifa Mayanja at the Waiting Room in Stoke Newington.
Tell us a bit about your musical journey – what are your first musical memories, what music were you exposed to by parents, siblings, friends etc…
My favourite early musical memory is my parents playing me Physical Graffiti by Led Zeppelin in the car when I was young. Previously I’d only been listening to lighter music, soft pop, but when that came on it completely blew me away and I’ve been a music person ever since.
I think even now I’m still chasing that initial experience, that feeling when some new music excites you like that. My older sister & her long term boyfriend got me into all my teen music by lending me their CD’s. Nirvana, Radiohead and (pre-crooner) Arctic Monkeys were a big influence on me at that time.
What about your first steps into making music? Any piano/violin lessons or are you self-taught? Any embarrassing (or brilliant) teenage bands?
I took some guitar lessons but didn’t enjoy the formality of the way it was taught. I learnt through being in bands with my friends. We would all switch instruments (guitar, singing, bass, drums) and then I’d record everyone into my laptop.
Our band definitely made a few embarrassing songs in my teens. Mine were all about girls I liked (none of them worked unsurprisingly). I’ve found people like the idea of having songs written about them, but when it’s actually there it just comes across as a bit OTT. Maybe I was just bad at them?
How did you first come across house music? Any single moment when you saw the light or was it more gradual?
My friends in school were obsessed with groups like Justice and Daft Punk, but they were too squelchy sounding for me. I think soul artists like Marvin Gaye or Bill Withers were probably the biggest gateway into dance music. Even if they lacked that heavy bass driven sound, ‘What’s Going On’ was the first album where I became hooked on a particular groove, the way the bass and drums interact in that hypnotic way.
From there I got into disco. Evelyn Champagne King, Gwen McCrae and classic house tracks like Gabriel were my introduction to dance music, while I was in Sheffield. It was an incredibly inspiring place to be for DJ culture at that time. Some of my new singles coming out after this EP are really inspired by those times, listening to very poppy disco and drinking questionably cheap alcohol with my friends.
How did you hook up with Roy and UTM? Must have been a dream come true.
No ‘demo in rye sandwich’ story sadly, I just sent him some tracks through a mutual friend a few years ago and he was very keen. I remember he particularly liked ‘Likes for Cash’.
It was of course a dream come true, that such a pivotal figure in my own introduction into house music chose to resurrect his label after so many years. There is no greater honour or label to release with for me.
Stars of IG is “a playful, Chicago house and Nu-disco inspired three tracker” – you mentioned Roy and Quincy Jones, Boo Williams and Soichi Terada as influences on it… Anyone else deserve a big up here?
Hard to pinpoint everything, but I remember when I wrote Spring Boo I was really interested in Bruce Sweden’s recording techniques for Billie Jean. The quickly shuffling hi hats are a bit influenced by trap as well. I wanted the track to sound modern and engaging while paying respects to all these classic older tracks that had such an influence.
Otherwise in general I’d say Lindstrom and Ron Trent deserve honourable mentions.
Have you ever been to Chicago to experience it first hand?
I have not, if I go to the US it’s usually to visit my uncle or cousins on the west coast.
Needless to say, can you explain the ‘IG’ in the title?
It’s just to poke some fun at the current state of Instagram DJ culture, how we measure status on things like followers and how viral a piece of content goes. I’ve had to drag myself kicking and screaming into the world of Reels, Tiktok and all the rest recently. It has to be done though – and I don’t want to moan. Just giggling to myself…
You’ve used the skills of Benjamin Racionzer on trumpet on ‘Racionzer’. What’s the connection…. What were you aiming for here?
Funnily enough I was working at Juno at the time, when my colleague & friend Ali Renault sold me his MPC1000. This EP was very inspired by that machine. I have lots of fond memories of drinking too much strong coffee and messing around in my studio making those tracks while my girlfriend was working or out of town…
I was part of a Djembe class in Bethnal Green and met Ben through that. He’s a terrific trumpet player and it was a pleasure having him record with me.
There’s also a new three tracker on A-Z coming – any other plans for the rest of the year you can share?
Three new digital singles after this EP in 2023. I’m particularly excited for my next release ‘Do You Remember’, a playful upbeat garage house number which is out on the 21st July and got really great feedback so far. Then there’s also a new edits 12” on Stamp Records – a reworking of an old classic in a raw bass heavy Maurice Fulton-style.
2024 is going to be an even bigger year, Roy and I are working on something new with a very well known instrumentalist, which will be on a new label with my longtime music crony JVXTA. Making up for lost time hopefully!
I’d also like to mention, each month on Balamii Radio I host the label focus show, a 2 hour deep dive into a classic imprint that’s been integral to the scene. So far I’ve done Nu Groove, 2000 Black, Strictly Rhythm and, of course, Undaground Therapy Muzik. The latter was just posted online and has an exclusive interview with Roy laced over music from his classic label.
Ben Willmott