Ramadanman AKA Pearson Sound + Hessle Audio Label



[Jamie Woon - "Night Air (Ramadanman Refix)", (Cadent Songs, Oct. 2010). Photo by Rosa Maria Nika.]

Ramadanman. It’s a name that just flows with a phonetic fluidness. That’s the reason the artist chose the name. It sounds good, nothing more. That’s why we like Ramadanman. It just sounds good. Not the name, the music. It rolls about the eardrums, dripping percussive nothings, constantly bouncing new ideas off the backboard of the future. He always pushes himself to try and create something of a departure from his previous work and from that of others. He punctures the bubbles of styles and swims about in the mixtures of their bleeding contents. He often goes pool hoping in other people’s genres; backstroking through techno, cannon-balling in drum and bass, holding his breath under deep house. But never dubstep, his center of gravity. Those tracks are often the hardest to pin down, always slipping through the grasp of category. His home is wide open, mobile. Different tempos, new theories, unfamiliar sound palettes. Keep it moving, never rest, be gone before the fire is cold. This is his personal goal, the force behind his creative output.



[Ramadanman - "Glut", (Hessle, April 2010).]

And that’s what he feels is the true nature of dubstep as well. What it was when it started. An outlook to be nurtured. It’s also the spirit behind Hessle, the label he manages alongside Ben UFO and Pangaea. He views it as an outpost for inclusiveness, for the forward thinking mind. It is dubstep, but he doesn’t care if it is. Debate it all you want, that’s not the point. The point is to build with its artists, to bring up new talent, to push a percussive skittishness into new realms of sound loops, but still get avant-garde with it occasionally. The point is to outlast the trends and still be relevant ten years from now. But unlike many who scold the filthy wobble, banishing it from the only home it knew for so long, Ramadanman welcomes it. Were he to come to Brooklyn, he’d see the crowds here also fawn over the well placed drop. A full night of deep dubstep is one haunted by bad dreams to him. It is, however, a planning thing, and desert is only good in moderation. Growing obese on the sugar rush of mid range madness only dulls one’s capacity for pleasure over time. A healthy diet of styles is key to a good set. To a good label. To an artist’s back catalogue.



[Pearson Sound - "So Far Ago" (Soul Jazz, July 2009). Photo by Ian Flannery.]

But sometimes, an artist just wants to create, to put whatever comes to mind to paper, regardless of an itinerary. For that, he uses the alias. Generally Pearson Sound, but occasionally Shetland. Or maybe Maurice Donovan. The sounds are no departure from Ramadanman. Rather that’s the point. Ramadanman is a constant departure. It’s what’s expected of him. No, they’re an excuse to digress with a particular sound. To settle down with it if that’s what he feels like doing at the moment anyway. But always, its back on his percussive path to the future, that unrelenting devotion to progress. Once he finally reaches that shimmering horizon, will it still be dubstep? Probably not. Does that matter? Probably not. The world of Ramadanman keeps spinning, bringing new horizons. - MS



[Ramadanman - "Blimey" (Hessle, May, 2008).]

Ramadanman’s weapons of choice are Fruity Loops, a midi keyboard with some knobs and Adam monitors. His partner in Hessle, Pangea, is also fond of Fruity Loops, but uses Acid Pro just as frequently.

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