FIVE MINUTES WITH: I. JORDAN
I. Jordan pushes boundaries. Both in music and life. London-based but hailing from the North of England, their forward-thinking musical process building tracks off loops sets them apart from the crowd. Just after the release of Jordan’s latest EP ‘Watch Out!’, we were lucky enough to join them to chat music, books, creativity, identity and overcoming challenges.
Can you tell us a bit about yourself and how you got into music?
I am a queer northerner and I like music, my cat, cycling in the countryside, not killing my plants and living in London. I’ve been into music my whole life, I first asked for a guitar aged 3. I started playing properly at 10 and started DJing at 18 whilst at Uni. I started producing about 4 years ago.
What’s your creative process?
I build tracks off loops, often taking away from an initial rather than adding. I often have baby tracks that have come from one track that I’m working on where the sample or melody didn’t quite fit so I made another out of it. Lots of my tracks are the spawn of the rest of them, a nice little tune family.
What are your plans this year?
My latest EP just came out, so I’m enjoying that a bit right now. I’ve also just moved house so I’m exploring SE London. I’m hoping to go to Snowdonia in July for a little holiday. Once shows start up again, I’ll hopefully be playing up and down the UK for the rest of the year. In between this I’ll be finishing some music and making lots more!
Tell us about Watch Out! Where did you draw inspiration for the EP?
‘Watch Out!’ was made from around the end of 2019 to Autumn 2020 and is themed around physical/conceptual movement. From a physical perspective, “watch out!” is what I shout to people when they’re in my way when cycling, and the artwork features some of the cycle routes I did during lockdown. I also used to make most of my music during train journeys, ‘Only Said Enough’ was made on the train to Hull and ‘You Can’t Expect the Cars to Stop if You Haven’t Pressed the Button’ has samples from pelican crossings in Dublin and Peckham. Conceptually, I’ve moved a lot this year in terms of my understanding of myself and my gender identity. We’ve all had to change and adapt to our circumstances and how we relate to movement, and that’s all tied into it too.
Have you got any live shows coming up and are you looking forward to returning to the stage?
Yes and yes, very much so! My first show back is on the 22nd May at the Colour Factory with Anu and OK Williams!
It’s been a tough year for artists, what challenges have you had to overcome?
A lack of inspiration and trying to motivate myself through depression. It’s been really challenging to try to make music when all you see is your four walls. I’ve had to try to tell myself it’s ok to slow down and give myself permission to have breaks. I also miss DJing in clubs so much, getting direct feedback from the crowd on tunes has definitely been missing.
What other artists are doing exciting things right now?
Jurango, Anz, Finn, Bored Lord, FAUZIA, LSDXOXO, Yazzus, Eris Drew, Octo Octa, Elkka, KG, Dance System – ahhh so so many to name, there are so many incredible people out there.
What advice would you give to artists trying to break into music?
Go easy on yourself, don’t compare yourself to others, find your community who lift you up and support you rather than deny you access into the music world.
Dear Nan King from your last EP was inspired by Sarah Waters’ 1998 novel, Tipping the Velvet. If you could recommend one book for us to read this summer, what would it be?
I’d recommend ‘Love Beyond Body, Space and Time’ by Hope Nicholson, which is a “collection of indigenous science fiction and urban fantasy focusing on LGBT and two-spirit characters.”
What are the top 5 songs you are listening to at the moment?
Pieces of 8 – Overmono
LXURY – I Just Love it With You (Earth Boys Remix)
In The Hills – Mr Mitch
Transcendental Access Point – Eris Drew
Porta 400 – Arlo Parks
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