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Getting To Know: Nicky Roule



1. Your musical journey began with a rich exposure to classical music due to your family's background. How did this early immersion in musical events, choir practices, and orchestral performances shape your perspective on music, and how do you think it influenced your later exploration into dance music?


Yes, i was lucky enough to be adopted (at the age of almost 2 years old) into a family where both of my parents are trained classical musicians. This meant that music became a very normal & integral part of my life from a young age & I guess I had no choice but to be influenced by the environment surrounding me.  


When I was listening & attending these classical music events, orchestral performances, choir practices, etc I suppose I was always thinking, “How could this be different”? “What is my take on this”?  I think the raw basics of all these performances i was exposed to & the music itself gave me a great understanding of many different types of music which perhaps most kids wouldn't be exposed to.  I believe this is truly where my initial inquisitiveness & spark of intrigue came from which had a shaping on my own exploration & musical journey later down the line.  


In the 90’s where dance music became so prolific, I felt compelled into the learning of these “new sounds”, for example those produced by artists such as Fat Boy Slim, Faithless, Robert Miles etc... all of whom I noticed had incorporated elements of what I had been hearing in my earlier exposure to music, like the orchestral parts whilst also delivering a different type of energy & to me, what i can only describe to be a unfelt emotional / euphoric experience. This gave me a real feeling i hadn't come across before (frisson) an aesthetic chill. I always think that if a performance or a piece of music can do this for you then it hits the right note!  



I suppose what i am trying to say is that due to these experiences in my youth I have since always felt the itch & desire to be able to create a raw & real energy through my own way of making music. A collision of the genres, classical, orchestral & raw, energetic dance music expressed in my own way through my own emotions & experiences to hit the ultimate feeling i was always looking for & wondering if could be made possible.  


On the note of parents & me being adopted, I have over the years found out that my birth father was a musician (guitarist). In fact, I even found out that his band supported CREAM live in the 60s & I always knew from a young age that Eric Clapton was his idol. My family have always been very clear about my sister & i being adopted even though i can't really imagine it any different as we are all so alike & they have made incredible parents who have always tried to keep some memories from my “previous life” alive & to have some memories if we could – my Dad's way with this was to have us listen to Eric Clapton which was very educating! So, some of this does make sense, it may not only be my domestic background but also perhaps partially genetic too! 



2. Growing up playing instruments like the Cello E Flat, Tenor Horn, Trombone, and French Horn before transitioning to rhythmic drums, you've had a diverse instrumental background. How do you think this variety of instruments and experiences contributes to the unique sound and style of your music today?


The diverse instrumental background I had was not for the want of trying – I learnt many instruments & i know that my parents were keen for me to be immersed into this as my Dad was Director of Music for a senior school & my Mum the same for a junior school.   


I was a bit of a different case though, as my Sister always seemed to get along fine learning & would have a good attention span for all aspects. I, however, did not have the same! I would always feel frustrated with the theory side of learning & I just wanted to make sounds that I liked & by my own means.


On this point, an amusing story; When i used to spend time with my Dad as a young boy in the Music Department of the school we attended, as he would be finishing off arrangements for the orchestra or other admin bits needed with his job, I remember seizing the opportunity of freedom to go & find instruments in practising rooms & just try them out while he was busy finishing his jobs. Things like Trumpets, Trombones, Clarinets, i was in the right place to get my hands on all sorts of noise making machines! Sometimes there wouldn't be a mouthpiece so i would find it from another just so that i could make a sound & to hear how it would make me feel. This is experimentation in its earliest form - I must have been about 8 years old at the time & this was exciting to me. I suppose this created a connected to not only the sounds but also to my parents in a way, as I had seen them perform all sorts of intricate music & wanted to be similar if I could & as a boy who was adopted into this family at a young age I suppose you can see why i was drawn to this – it was there for me to plunge into, which i did!  

  

Although I am somebody who doesn't necessarily read music well (apart from Drum music)! I feel it's so important & also a real gift to be able to hear & process what you want to get down, the rest you can work out - it may take time but its worth it. I have found the use of Synthesisers a great way of tweaking until I get something I like & then improvising from there. 

  

I think the way all of this has influenced my music & compositions today is that now when I am making music i am able to think of a varied array of sounds & instruments in my mind which I can then use to put into my music. I believe that this incorporation of instruments is how I am coming around to developing my own sound to be recognised & appreciated for.   



3. The late '90s marked a pivotal moment for you with the introduction to dance music, particularly tracks like Fat Boy Slim's "Right Here – Right Now" and Faithless's "Insomnia." How did these tracks influence your perception of dance music, and how did they inspire you to find your place within the genre?


The 90s an amazing era for dance music – if i think back to this era Faithless’ Insomnia was released in 96, Fat Boy Slims’ Right Here Right Now in 99. When these 2 tracks came to me they were the most influential as they both showed to me that exactly what i was thinking about could be achieved - that orchestral & classical flavour influenced with strong electronics giving energy. I remember having, “Right Here, Right Now “on tape & playing it a lot, the sampling is genius!  I think these tracks have inspired me to create music that has that great vocal or hook that swoops in & is able to just hit you right. I always try to build suspense at the beginning of most of my tracks for that exact reason.  I have been lucky enough to see Faithless live when they were all together & the performance is just incredible – it really gives you that emotional, in awe feeling. 



4. Film music, especially the work of John Carpenter, has been a significant inspiration for you. How do you incorporate elements from film music into your own creations, and in what ways do you believe it enhances the emotional journey you aim to create in your music?


Film music has been a significant inspiration for me, I absolutely love the “Halloween” theme music by John Carpenter – it is suspenseful, dark & powerful but has that real edginess to it which I love. There is also music like the ET theme that has such emotion to it which compliments the picture so well.   


I try to incorporate factors from film music such as atmospherics, whether they may be as simple as elemental effects; such as wind, running water etc... or orchestral overlayed strings – as i really like the way it builds up the music, these layers add something new that creates sustenance to the track.


Things commonly used in movies such as orchestral strings in their various forms; staccato etc... I feel can really build suspense & paint a scene, this i have found can be really key for breakdowns when waiting to drop back in. This all leads me to the creation of a particular element in any arrangement that provokes some kind of emotion & takes you on the journey to the drop – to be felt & experienced.  



5. Your description of modern dance music as taking listeners on an emotional journey "from within the darkness - To the highest of heights" is intriguing. Can you elaborate on the emotional landscapes you aim to explore in your music and how you craft scenarios and settings that resonate with your listeners?


This description I have used, of taking listeners on a journey “from within the darkness to the highest of heights” comes from what i think modern dance music should do for the listener. I refer here to live performances, festivals, concerts – I think that if you can start a heavy deep-down groove with perhaps one hell of a hook & move it along bursting into a solid “tutti” (all together) moment then you have done it! 


I think that the journey through electronic music, especially in performances is so, so important because you're essentially telling the audience a story from your own music. On this point, i know that there are certain performing artists like The Chemical Brothers for example who have Synths hooked up & run different parts through a mixer. This is a really clever way of performing in my view as you can essentially alter the composition live if you wish, creating a different experience every time.   


One dance act i have seen many times is The Prodigy as i am lucky enough to have a very talented cousin who plays the drums for them which i am sure he won't mind me mentioning. They also use this way of performance running certain parts from Ableton on laptops & playing Synth parts, vocals, Guitar & Drums live. It really is electrifying when it all comes together & seeing them over the years every performance is different – I think these incredible performances have certainly influenced me in many ways! How could they not!? 


In terms of my own compositions, I produce my music by contextualising my thoughts within the creation process – I start to think of places where i imagine the music would be played (a scene) something like a big Anthea Theatre or a Warehouse perhaps? Even as far as a clifftop or rustic beach setting. From this, i find i can then add new parts to it, like more percussion or a new instruments etc... If i am to picture the music in a Warehouse i think to myself, "What else would you usually associate with this setting"? For example, a Warehouse maybe a tb303 could come in at some point giving it that essence of an old school rave. Another example i could give would be imagining the music being played in the great outdoors, maybe the top of a National Park & from there i would try to incorporate something like a pan pipe or maybe some bells – this is how I associate creatively with the composition.   


I just seem to find that this helps me complete parts that may be missing in order to get to the finalised piece, this is part of my standard creative process in the production of all my music, to imagine the place, the music, & the reaction it might be getting. 


6. Your goal is to create music that is not only heard but felt and experienced. How do you approach this process, and what role do you believe powerful orchestral and dance influences play in eliciting a visceral response from your audience?


Yes, my overall goal is to create music that is not only heard but felt & experienced. I try to share with people what i have felt & learned from a young age growing up along my musical journey, all influences considered. I hope that people can feel the emotion & are able to dance to my music. 


At the same time, i want them to understand the voyage aspect of the piece of music, how it has been cultivated to take them on a journey or to a certain place. Through the use of powerful orchestral & classical elements combined with an interesting variety of instruments I aim to achieve this by way of inciting these feelings to surface whilst listening & experiencing the music. Creating feeling through music & sounds is essentially in my make up & I want to share this with others who may not need to express their emotion but can at least lean into it - feel & ride it through my music - just like I do.

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