The last time we held a chat with Patrick Holland aka Project Pablo it was on the occasion of his IA MIX three years ago, almost to the day. You can easily imagine that a lot has happened and the man has got plenty more thoughts and experiences to share, and you couldn’t be more right. Having compiled a well-furnished back catalogue over the last couple of years, complete with releases on Clone’s Royal Oak, Sounds Of Beaubien Ouest, Church, Let’s Play House, Club Lonely and Technicolour, Holland recently announced his return in business with the launch of his new platform Verdicchio Music Publishing – a 100% personal venture, intended for his own material exclusively.
Landing in a couple days on VMP, Patrick’s debut LP ‘Come To Canada You Will Like It‘ finds the Montreal-based producer further exploring lushly textured house territories, interspersed with delicate hints of jazz, laid-back funk, dub and exotica-infused ambientisms. “Inspired by subjective memories and ideas about things and places“, the album is presented as “a record about slowing down while finding a balance between rural and city living“. Keen to learn more about the whys and wherefores of the label and his forthcoming long player, we caught up with Patrick for a quick-fire chat. Stream the lax and balmy ‘Rent Day‘ down below.
Interview by Baptiste Girou
"I never pictured it coming out on a label, but then after sitting on it for almost 3 years, I thought other people might enjoy it as well, resulting in the personal label, self-release route."
Hey Patrick, you’re inaugurating your new label Verdicchio Music Publishing with the release of ‘Come To Canada You Will Like It’, which actually makes for your debut LP after a tape album on 1080p three years ago. Please tell us more about it and what it represents to you.
It functions as an audio postcard for friends and family: a collection of tunes from a specific time and place. Never fully intended for public release, but after some time it felt right.
Were the tracks recorded during the same timeframe or are these fragments from diverse creative periods?
All tracks were recorded in the summer of 2015 in the same room using the same kit of gear. I then mixed/finished the whole package in 2017 in a different studio environment.
What prompted you to finally release this album on your own instead that on some other label? I guess you’ve received quite a few offers to publish it elsewhere…
I had only sent this group of tunes around to friends to enjoy as a private record of sorts, instead of optioning them for release. I never pictured it coming out on a label, but then after sitting on it for almost 3 years, I thought other people might enjoy it as well, resulting in the personal label, self-release route.
The vibe’s super lax and slow, perfect for the summer days on the countryside. What images do you have in mind when listening to these tracks?
I think about home: the ocean, islands, trees, and images of people relaxing in various locations.
Quite a lot of water has passed under the bridge since our last chat in 2015 – including releases on Clone’s Royal Oak series, Church, Let’s Play House, Spring Theory and Technicolour. How did you experience this rising momentum?
The past three years have been an interesting time, some tough, but mostly fun bits. The best experiences have been in the studio with new and old friends. Being able to create freely with others, while consistently travelling has kept it all afloat for me. They go hand in hand, one inspires the other, and I hope it continues.
"I think about home: the ocean, islands, trees, and images of people relaxing in various locations."
You wrote that the album is a record about “slowing down while finding a balance between rural and city living”, inspired by “subjective memories and ideas about things and places”. Do you feel the world’s going too fast right now to experience life plainly and satisfyingly?
It’s different for everybody. Technology makes everything faster, but there are many ways to not get swept away. I find revisiting mind sets from my past a good way to stay grounded, which is what I tried to portray with these tunes.
Did you assemble the tracks following a certain narrative guideline?
No story board narrative, more of a ebb and flow in momentum.
The fact that Verdicchio actually is your mother’s maiden name as well as your own middle name gives it a very intimate family feel. Is it a label you’ve set up to release your own material exclusively or also friends and collaborators’?
Yes, it’s just intended for my own material, other aliases may pop up as well.
Does this mean you’ll mainly release your music through VMP from now on, or do you envisage it as a platform for the stuff you’d normally wouldn’t put out elsewhere?
I still have plans to release elsewhere, but I will always have VMP in mind.
What generally makes you happy?
Good tudes.
What pisses you off grandly?
Bad tudes.
What are your plans for the summer?
Flying across the Atlantic quite a bit, but also looking to squeeze in some days outside in the sunshine back home. Thanks!
Come To Canada You Will Like It is released via Verdicchio Music Publishing on 22nd June, pre-order a copy from Juno.
TRACKLIST
A1. Intro
A2. No Interest
A3. Rent Day
A4. Just A Thought
A5. Tunstall
B1. Half Time
B2. Nanana
B3. To Sealeigh And Back
B4. It’s Okay That It’s Like This
B5. Fine Match
Discover more about Project Pablo and Verdicchio Music Publishing on Inverted Audio.
Project PabloVerdicchio Music Publishing22 June 2018AmbientElectronicHouse