When Pianos Attack – Bruise

Bruise are back with another slab of timeless Detroit inspired deepness in ‘When Pianos Attack’ (Listen & buy via Bandcamp link below). We got a chance to talk to Christian from Bruise about his story in music and the development of his sound:

Please tell our readers about Bruise

Bruise originally started in 2015, as a collaboration with Diesel (from Xpress-2) and with a remix of a track for James Kumo’s label. The project has evolved from there and I would describe Bruise now as an ever-evolving musical collective. The sound to date is heavily influenced by early Detroit, 90s house and techno but the intention is that future releases will explore many electronic genres.

Where are you from, where are you now?

Originally from Birmingham now living in Enfield North London.

What are you up to today?

Currently working my day job at PRS for Music which involves making sure writers get paid for when their music is used. So, if any of your readers make music make sure they join PRS!

Talk us through your new single.

When Pianos Attack’ was written at the end of last year and it’s a big old piano house stomper. Whilst it clearly has a nod to ‘that 90s piano sound’ with hints of ‘Masters of Work’ and ‘Kerri Chandler’, I feel it throws in a bit of a modern Bruise twist with arpeggiated piano rifts, dramatic operatic choirs and, as always, a shed load of strings. It’s a bit of a banger.

Christian Campbell aka Bruise

Is there a process of production that you follow in the Bruise studio?

All productions evolve from initial jam sessions in Ableton and unless I’m working on a remix, I never start with any idea of what I want to create. I just try and enjoy the process and then when a good idea starts to develop, I work quickly to get the bare bones of an arrangement down. Then I build on that idea until its finished. I tend to have many tracks on the go and usually work on an idea for no more than 1-2 hrs to maintain the energy and try and avoid creative fatigue. I think when you jump between tracks and work quickly you tend to make more honest decisions. It’s when you’ve listened to something too many times and for too long that the brain starts to hear the track in a non-constructive way.

Who would you love to see playing this track?

Anyone as it’s such a buzz and honour to have a DJ choose to play a track you’ve created.

It’s always amazing to hear a track played on radio so if any of the specialist show DJs on Radio 1 gave it a spin, which would be ace.

What’s the best time in the night to enjoy it?

I reckon it’s built for peak time or end of night business

What was the last piece of music that you bought?

Bad with Phones – Marinade

If someone wanted to get to know your taste, what album should they listen to?

Going to go for an oldy but Future Sound of London – Accelerator

Tell me what you think is one of the most important records of all time to you?

Well, there is a big bag of records that could fulfil that criterion but a record that absolutely blew my mind at the time was Future Sound of London – Papa New Guinea

 What advice would you give to young producers in the studio?

Try to find time to create music every day. When you listen back to your own productions, do so away from screens and other distractions. Share your music with your mates and other producers, listen to their feedback but also take time to find your own identify and carve out your own sound. Most of all just enjoy the process.

What have you got the pipeline?

New Bruise originals, some more Bruise remixes and even a Bruise edit.

Bruise release ‘When Piano’s Attack’ on Foundation Music 12th November.

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