Influences: Nautiluss

 
Music

Reflections is the Spectral Sound debut of Nautiluss, the primary project from Toronto’s Graham Bertie. His career began, as many do, with practicing mixing records in his bedroom before cutting his teeth in warehouse raves in Montreal. After many collaborations and heavy touring early in his career, Bertie has now chosen to stay in more than go out, leading to a new direction in his music.

Don’t let this lead you to believe he’s a slouch in the live department. Bertie has performed live at the influential MUTEK Festival and Panorama Bar in Berlin, showcasing his flexibility and expertise with all manner of instrumentation – analog and digital, hard and soft, improvised and structured.

He's also been found spinning at iconic clubs such as Trouw, Panorama Bar, Dance Tunnel and his favorite local grotto, Toronto’s Bambi’s, performing alongside talent such as Mike Servito, Octo Octa, and Galcher Lustwerk.

Here, the Canadian producer takes us through some of the tracks that influenced the new EP.


Reflections is out now on Spectral Sound, buy it here.

Pépé Bradock - Intriguing Feathered Creature

I could have picked any one of his tracks. I always love his combination of dusty drums and chopped transposed samples. Also his songs tend to have a non-repeating progression, they reward listeners that make it all the way to the end. I try to do that in most of my music. You definitely can hear it in Lonely Planet.

  • Pépé Bradock - Intriguing Feathered Creature

    I could have picked any one of his tracks. I always love his combination of dusty drums and chopped transposed samples. Also his songs tend to have a non-repeating progression, they reward listeners that make it all the way to the end. I try to do that in most of my music. You definitely can hear it in Lonely Planet.

  • Nasa Space Sounds

    Lonely Planet has all kinds of strange sounds that were chopped and screwed from electromagnetic recordings captured by the NASA Voyager Space Probe captured from throughout our solar system. Who needs actual synthesizers when the universe is one giant insanely expansive and versatile synth.

  • Howard Roberts - Dirty Old Bossa Nova

    The percussion in Odyssey has a samba feel to it. The kind I first heard on this old bossa track by Howard Roberts that A Tribe Called Quest sampled for The Jam.

  • Percussions (Four Tet) - Khlhi

    The bass line from Odyssey kind of has the same kind of spidery movement found in this jam by Four Tet. He has also long been an inspiration when it comes to how program my drums.

  • Soichi Terada - Do It Again

    The lead in Odyssey kind of sounds like the lead on this amazing and recently reissued 90s house track by Soichi Terada. His whole body of work is absurdly good.

  • Actress - Marble Plexus

    The hazed out drums on Alphaville has the kind of qualities I have always admired in much of Actress’ work.

  • Laurent X - Machines

    Acid. Live it. Love it. Eat it. Alphaville’s bass line is a tribute to some of my favourite acid songs, this one is one of my favourites from the original acid house era.

  • 2u4u

    Alphaville has this washed out chord progression which reminds me of this classic by Slum Village as produced by Jay Dee / Dilla. The main melody is actually a sample of D’angelo’s voice which has been transposed to several different keys to create this eerie chord progression.

  • Luke Slater - Love

    Kodama definitely has some referencing of the tasteful side of Trancey-techno like this timeless classic by Luke Slater. The breakbeats, the ethereal pads, the tight high hats and the angelic voices more specifically.

  • Call Super - Migrant [Houndstooth]

    I really love Call Super’s use of unconventional and and often non-repeating sound sources. There’s always a bunch of odd sounds that I have no clue as to how they were made. I also find that you are rewarded by repeated listens as you discover intricate little details over time. I applied this in spades on this record especially on Kodama.

  • Trevino - Backtracking

    Aside from this is an incredible song and one of my favourite dancefloor tracks of the past few years, the detuned square wave bass line similar to those originally made popular by Larry Heard are right up my alley and what I was going for when I made the bass line for Kodama.

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