Sound On Tape Debuts with ‘Digits’: A Soulful Journey through Garage, Electro, and Jazz
Cleveland-based producer Sound On Tape announces his arrival with Digits, an arresting debut EP that fuses the intricate rhythms of Garage and Electro with the improvisational freedom of Jazz.
Sound On Tape is a Cleveland native whose artistry reflects a profound engagement with the multifaceted traditions of electronic music. By seamlessly integrating the grooves of Garage, the precision of Electro, and the expressiveness of Jazz, he creates a sound that is both deeply rooted and unapologetically progressive.
Released via his label 904L World Class Sound, the EP channels influences as varied as El-B, Burial, Kraftwerk, and Mr. Fingers, while drawing upon the jazz mastery of Bill Evans and John Coltrane. The result is a collection of tracks that feel both grounded in tradition and refreshingly forward-looking.
As the founder of 904L World Class Sound, you’ve released music from artists like Wilfy D and Mike Nasty. What is your vision for the label, and how do you select artists and projects that align with its ethos?
904L was originally started just to platform what I was making after my very first experience with signing to a label. It went bad and left a bad taste in my mouth so I started my own thing. It then expanded to include other artists in my city of Cleveland who’s music I liked, and it’s now snowballed to include releases from artists all over the world. My vision for the label is to continue to throw high level events and platform artists we like in House, Garage, Jungle, and Electro.
Your reinterpretation of Roy Davis Jr.’s “Gabriel” offers a fresh perspective on a classic. What motivated you to revisit this track, and how did you approach balancing respect for the original with your own artistic vision?
Gabriel was the first time I had heard overt spirituality in dance music. It also has a really hypnotic element to it with the repetitive bassline and that honest and raw vocal delivery from Peven. It’s really special. The only element I kept from the original was the lyrics and vocal melody. I added my flavor to with the 2-step beat, more chords, bass stabs, and an improvised horn solo.
Cleveland’s Crobar has been pivotal in your career, providing a platform for diverse electronic music. How has the local scene influenced your work, and what role do you see it playing in the broader electronic music landscape?
Cleveland is everything in my music. Similar to Detroit, its in the heart of the rust belt. It’s a rusty, urban place with spots of light and my music reflects that. It’s a bit dirty. Because we don’t have a definitive sound in dance music (ie. Detroit = Techno) it forces me to really innovate. I don’t have a lineage to pull from. We came up with a sound called Cleveland Bop. More on the way!
Your debut EP, Digits, is described as emotive and atmospheric, blending genres like Garage, Electro, and Jazz. How do you balance the technical aspects of production with the emotive qualities that make your tracks resonate so deeply?
Yes, production can be technical. I’d say the most technical part of my productions is always the drum programming. I try to allow more fluidity in the instruments, especially the improvisational elements like the horn and piano lines. That really allows me to capture raw emotion and the spirit of the day. There has to be both.
Digits features a remix of Hush Harbors by MPH, which opens the EP. How did this collaboration come about, and how does MPH’s interpretation enhance the narrative or feel of the original track?
I love MPH’s work so it was a joy to have him on this and reach out for a remix. He brought the driving energy and put a 4×4 bassline spin on it. The remix is massive and is definitely being supported by DJ’s globally so I’m grateful for that.
As an artist blending soulful and experimental elements in a predominantly club-oriented U.S. market, what challenges or opportunities have you encountered in carving out your space within this scene?
Great question. I’ve only been at this project about a year and a half and I’ve been pretty embraced thus far, with many recognizing the sound is just a bit different. I think the UK is a bit more tuned in at this point but looking to expand on my sound more and really cement things with my debut album next year.
Sound On Tape – Digits EP is out now
https://soundontape904l.bandcamp.com