Rewrite
Banksia began 2024 with a series of electrifying, boundary-pushing club anthems that captivated his loyal fanbase. Now, he’s closing the year with an even greater achievement. His latest release, “Here, Somewhere,” is an ambitious and monumental 21-minute EP that seamlessly blends his rich, multicultural influences from the UK, Zambia, Australia, and the USA. Collaborating with a talented and dynamic group of session musicians, Banksia presents a raw, unpolished, and authentic body of work. The EP embodies spontaneity and emotional depth, showcasing expressive piano, soulful saxophone, and invigorating drum arrangements—an impressive milestone for the burgeoning artist.
The project opens with “No. 1,” an entrancing and hypnotic instrumental track that sets the tone for the EP’s mesmerising essence. “Here, Somewhere” takes listeners on a soaring and evocative journey through lush instrumental arrangements, powerful melodies, and spellbinding compositions. The EP culminates in two breathtaking and improvisational final tracks, leaving a lasting impression.
Listen to the EP…
Watch Banksia’s recent performance at the Museum of Modern Art San Francisco…
We sat down with Banksia to discuss his inspirations—from Pharrell to Rick Rubin—the significance of “the spaces between sounds” in music, and his aspirations for what listeners will take away from this bold project.
Hey Banksia! Congratulations on the release of “Here, Somewhere”. What inspired you to blend modern jazz with electronic production for this project?
Hey! Thank you so much! “Here, Somewhere” is a deeply personal project for me, and blending modern jazz with electronic production techniques felt like the most authentic way to tell the story I wanted to share. Jazz has always been about freedom and emotional expression, and I’m drawn to its ability to create raw, unfiltered moments. At the same time, electronic music allows me to push boundaries and use those production techniques that give the sound a contemporary feel.
I’ve always been inspired by artists who merge tradition with innovation—whether it’s Floating Points, Shabaka Huchins, Hania Rani, Matthew Halsall or the incredible roster at Gondwana Records. Their work showed me how seamlessly these worlds could coexist. For “Here, Somewhere”, I wanted to explore that balance. It’s about taking the raw improvisation and spirituality of jazz and weaving it together. The result, I hope, is something that feels both timeless and of the moment.
One-take live recordings are a bold choice for the project. Could you share any standout moments from the sessions?
One-take live recordings were a bold choice, but they felt essential for this project. There’s a certain vulnerability and magic in recording live—it’s about embracing imperfections and letting the music unfold naturally. When I get too meticulous and try to polish every detail, the music starts to lose its magic and it almost changes the emotion. So while it was a bold choice, it was an easy one for me to make. I’m deeply inspired by people like Pharrell Williams and Rick Rubin, who focus on the feeling of creation rather than obsessing over technical perfection. It’s about how the music makes you feel, not whether every note is flawless.
Don’t get me wrong, programmed music is amazing and brings a meticulous level of perfection; but when human beings lock in, there is a feeling that you can’t replicate, it is almost unexplainable. All the drums across the EP were recorded in a single session, in just a couple of hours at a studio in Hackney, London. My friend Oscar came in, listened to each track once I think, and just started playing. We didn’t do any retakes, didn’t change a single part, and didn’t add samples or enhancements. What you hear on the EP is one take.
It was so spontaneous and effortless, I think at the time he was just passing through London and we locked him in for about two hours and managed to capture the drums. It’s moments like that which remind me why live recordings are so special. There’s no overthinking, no second-guessing, just the music as it’s happening. It felt like capturing lightning in a bottle, and that energy is truly the heart of this project.
You describe listening to the “spaces between the sounds”. Could you share how this shapes your sound and creative process?
The “spaces between the sounds” are just as important as the sounds themselves. For me, those moments of silence or stillness create a sense of tension, reflection, and intimacy that shapes the entire piece. They allow the music to breathe and give the listener a chance to connect with what’s happening on a deeper, emotional level.
When I’m creating, I think a lot about contrast and how sound and silence interact to create texture and dynamics. It’s not just about filling every moment with notes or layers but knowing when to step back and let the space speak for itself. This approach really shapes the way I arrange and produce my music. I focus on minimalism, letting certain elements like a piano phrase or a saxophone note stand on their own without overcrowding them.
The spaces are where the magic often happens. They allow the listener to lean in, to engage their imagination, and to feel the weight of the music in a way that wouldn’t be possible otherwise. For me, it’s about creating a balance where the sound and the silence complement each other, forming a dialogue.
How did you select your collaborators on this project?
I selected my collaborators based on what the project needed to complement my strengths and fill in the gaps where I felt I could benefit from other perspectives but also people that inspire me. Once I had the core ideas for the tracks laid down, I brought in a few session musicians who I knew could elevate the sound and add their own unique energy to the music. For me, it was important to work with people who are not only incredible musicians but also understood the emotional and improvisational spirit that I wanted to capture. Each collaborator brought something special to the table, and together, we were able to create something that felt authentic and balanced. Collaboration, for me, is about trust and allowing others to contribute their artistry, but also not being afraid to raise your hand to know when and where you need others to compliment what you might not be good at so what is in your head can be captured.
How has your multicultural upbringing influenced the sound of “Here, Somewhere”?
My multicultural upbringing has had a profound impact on the sound of “Here, Somewhere”. Growing up surrounded by diverse cultural influences shaped how I think about music; both in terms of structure and emotion. I was exposed to a wide range of styles, from traditional South Asian sounds to British electronic music and, later, the deep improvisational spirit of jazz. This blend naturally informs how I create.
The project reflects that intersection, combining the free-flowing, emotive qualities of jazz with the textured, layered approach of modern production. For me, it’s not about directly fusing genres but about letting those influences flow organically into the music.
“Here, Somewhere” marks a new chapter in your music. Where do you see your music heading next?
I’m excited about the future and where my journey as an artist will take me. My focus is on breaking boundaries and staying true to myself rather than following the rules of being a one-genre artist. I always remind myself, “I’m just me, and I do what I like.” That simplicity is at the core of my philosophy. I don’t create for fanfare or fame. I create for the purity of the process and the feeling it brings me. If other people connect with it, that’s an incredible bonus, but the drive comes from within.
Even when people don’t fully understand or resonate with what I’m doing, I stay focused on my own path. For me, it’s about the experience of making something, refining it until it feels like a true reflection of what I find beautiful, and then sharing it with the world. Not everyone will like everything I make, and that’s okay. What matters is that the work is honest and meaningful to me.
Musically, I plan to keep doing my own thing and exploring a diverse range of sounds. Much of my music for next year is nearly finished, and I’m also working on an album whether it comes out next year or later, we’ll see. I’ll continue to delve into both electronic music and contemporary jazz, staying true to the philosophy that drives everything I create.
What would you like listeners to take away from the EP?
I’d love for listeners to take away whatever resonates with them the most – that’s the beauty of music, it’s deeply personal. But if there’s one thing I hope to convey with “Here, Somewhere”, it’s a sense of emotional connection and introspection. Whether it’s joy, calm, or even a moment of deep reflection, I want the EP to feel like a space where people can pause and experience something raw and genuine.
At its core, this project is about exploring the feelings that live in the in-between spaces between sound and silence, between improvisation and structure. My hope is that listeners can step into that space and find something meaningful, whether it’s comfort, inspiration, or simply a moment to just be. If it makes them feel something, then I’ve done what I set out to do.
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Banksia began 2024 with a series of electrifying, boundary-pushing club anthems that captivated his loyal fanbase. Now, he’s closing the year with an even greater achievement. His latest release, “Here, Somewhere,” is an ambitious and monumental 21-minute EP that seamlessly blends his rich, multicultural influences from the UK, Zambia, Australia, and the USA. Collaborating with a talented and dynamic group of session musicians, Banksia presents a raw, unpolished, and authentic body of work. The EP embodies spontaneity and emotional depth, showcasing expressive piano, soulful saxophone, and invigorating drum arrangements—an impressive milestone for the burgeoning artist.
The project opens with “No. 1,” an entrancing and hypnotic instrumental track that sets the tone for the EP’s mesmerising essence. “Here, Somewhere” takes listeners on a soaring and evocative journey through lush instrumental arrangements, powerful melodies, and spellbinding compositions. The EP culminates in two breathtaking and improvisational final tracks, leaving a lasting impression.
Listen to the EP…
Watch Banksia’s recent performance at the Museum of Modern Art San Francisco…
We sat down with Banksia to discuss his inspirations—from Pharrell to Rick Rubin—the significance of “the spaces between sounds” in music, and his aspirations for what listeners will take away from this bold project.
Hey Banksia! Congratulations on the release of “Here, Somewhere”. What inspired you to blend modern jazz with electronic production for this project?
Hey! Thank you so much! “Here, Somewhere” is a deeply personal project for me, and blending modern jazz with electronic production techniques felt like the most authentic way to tell the story I wanted to share. Jazz has always been about freedom and emotional expression, and I’m drawn to its ability to create raw, unfiltered moments. At the same time, electronic music allows me to push boundaries and use those production techniques that give the sound a contemporary feel.
I’ve always been inspired by artists who merge tradition with innovation—whether it’s Floating Points, Shabaka Huchins, Hania Rani, Matthew Halsall or the incredible roster at Gondwana Records. Their work showed me how seamlessly these worlds could coexist. For “Here, Somewhere”, I wanted to explore that balance. It’s about taking the raw improvisation and spirituality of jazz and weaving it together. The result, I hope, is something that feels both timeless and of the moment.
One-take live recordings are a bold choice for the project. Could you share any standout moments from the sessions?
One-take live recordings were a bold choice, but they felt essential for this project. There’s a certain vulnerability and magic in recording live—it’s about embracing imperfections and letting the music unfold naturally. When I get too meticulous and try to polish every detail, the music starts to lose its magic and it almost changes the emotion. So while it was a bold choice, it was an easy one for me to make. I’m deeply inspired by people like Pharrell Williams and Rick Rubin, who focus on the feeling of creation rather than obsessing over technical perfection. It’s about how the music makes you feel, not whether every note is flawless.
Don’t get me wrong, programmed music is amazing and brings a meticulous level of perfection; but when human beings lock in, there is a feeling that you can’t replicate, it is almost unexplainable. All the drums across the EP were recorded in a single session, in just a couple of hours at a studio in Hackney, London. My friend Oscar came in, listened to each track once I think, and just started playing. We didn’t do any retakes, didn’t change a single part, and didn’t add samples or enhancements. What you hear on the EP is one take.
It was so spontaneous and effortless, I think at the time he was just passing through London and we locked him in for about two hours and managed to capture the drums. It’s moments like that which remind me why live recordings are so special. There’s no overthinking, no second-guessing, just the music as it’s happening. It felt like capturing lightning in a bottle, and that energy is truly the heart of this project.
You describe listening to the “spaces between the sounds”. Could you share how this shapes your sound and creative process?
The “spaces between the sounds” are just as important as the sounds themselves. For me, those moments of silence or stillness create a sense of tension, reflection, and intimacy that shapes the entire piece. They allow the music to breathe and give the listener a chance to connect with what’s happening on a deeper, emotional level.
When I’m creating, I think a lot about contrast and how sound and silence interact to create texture and dynamics. It’s not just about filling every moment with notes or layers but knowing when to step back and let the space speak for itself. This approach really shapes the way I arrange and produce my music. I focus on minimalism, letting certain elements like a piano phrase or a saxophone note stand on their own without overcrowding them.
The spaces are where the magic often happens. They allow the listener to lean in, to engage their imagination, and to feel the weight of the music in a way that wouldn’t be possible otherwise. For me, it’s about creating a balance where the sound and the silence complement each other, forming a dialogue.
How did you select your collaborators on this project?
I selected my collaborators based on what the project needed to complement my strengths and fill in the gaps where I felt I could benefit from other perspectives but also people that inspire me. Once I had the core ideas for the tracks laid down, I brought in a few session musicians who I knew could elevate the sound and add their own unique energy to the music. For me, it was important to work with people who are not only incredible musicians but also understood the emotional and improvisational spirit that I wanted to capture. Each collaborator brought something special to the table, and together, we were able to create something that felt authentic and balanced. Collaboration, for me, is about trust and allowing others to contribute their artistry, but also not being afraid to raise your hand to know when and where you need others to compliment what you might not be good at so what is in your head can be captured.
How has your multicultural upbringing influenced the sound of “Here, Somewhere”?
My multicultural upbringing has had a profound impact on the sound of “Here, Somewhere”. Growing up surrounded by diverse cultural influences shaped how I think about music; both in terms of structure and emotion. I was exposed to a wide range of styles, from traditional South Asian sounds to British electronic music and, later, the deep improvisational spirit of jazz. This blend naturally informs how I create.
The project reflects that intersection, combining the free-flowing, emotive qualities of jazz with the textured, layered approach of modern production. For me, it’s not about directly fusing genres but about letting those influences flow organically into the music.
“Here, Somewhere” marks a new chapter in your music. Where do you see your music heading next?
I’m excited about the future and where my journey as an artist will take me. My focus is on breaking boundaries and staying true to myself rather than following the rules of being a one-genre artist. I always remind myself, “I’m just me, and I do what I like.” That simplicity is at the core of my philosophy. I don’t create for fanfare or fame. I create for the purity of the process and the feeling it brings me. If other people connect with it, that’s an incredible bonus, but the drive comes from within.
Even when people don’t fully understand or resonate with what I’m doing, I stay focused on my own path. For me, it’s about the experience of making something, refining it until it feels like a true reflection of what I find beautiful, and then sharing it with the world. Not everyone will like everything I make, and that’s okay. What matters is that the work is honest and meaningful to me.
Musically, I plan to keep doing my own thing and exploring a diverse range of sounds. Much of my music for next year is nearly finished, and I’m also working on an album whether it comes out next year or later, we’ll see. I’ll continue to delve into both electronic music and contemporary jazz, staying true to the philosophy that drives everything I create.
What would you like listeners to take away from the EP?
I’d love for listeners to take away whatever resonates with them the most – that’s the beauty of music, it’s deeply personal. But if there’s one thing I hope to convey with “Here, Somewhere”, it’s a sense of emotional connection and introspection. Whether it’s joy, calm, or even a moment of deep reflection, I want the EP to feel like a space where people can pause and experience something raw and genuine.
At its core, this project is about exploring the feelings that live in the in-between spaces between sound and silence, between improvisation and structure. My hope is that listeners can step into that space and find something meaningful, whether it’s comfort, inspiration, or simply a moment to just be. If it makes them feel something, then I’ve done what I set out to do.
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