Charles Webster’s intense dedication to his craft has secured him nearly 30 years, now, of sonic success. The regular international demand for his DJing services, coupled with the long-term impact of productions recorded as Presence, Furry Phreaks and, of course, himself would, you think, have encouraged a certain artistic impudence; an overbearing sense of his own importance, if not quite to the dizzying levels of some of today’s EDM superstars. The reality is refreshingly different, as Defected’s Ben Lovett recently discovered.
The last time I interviewed Webster, he called from a bench in a Nottingham shopping mall whilst his partner completed the weekly food shop. On this occasion, he picks up having just given Parisian groove-ster Pepe Bradock a lift to the local train station, to make his way back home to France. Webster’s world is not one of raucous Ibiza boat parties, private jets, bling headphone deals and Facebook flash. It is somewhere where feet remain firmly on the ground, and simple living allows his unique electronic vision to thrive.
Webster reminds of fellow luminary Andrew Weatherall, one of electronic music’s greats whose output has built an immense reputation without visage or distracting pomp. Weatherall is both a legend and unknown. Webster’s profile is similar. He has status and loyal fan support, but both without excess - it means the music can still come first.
“It’s just kind of happened organically” Webster says. “I’ve just kept myself to myself...concentrated on the music and that alone. It’s flattering to be compared to someone like Andrew Weatherall because I’ve always admired his career. And that’s the thing; I care massively about his music but not his private life. Why, as a consumer, should I be interested in that? The music should do all of the talking.”
Digital phenomena like Facebook and Twitter, however, surely make that more difficult?: “Social media, I think, is more about reflecting the character of someone; when it’s loud and in your face that gives you a sense of the artist behind it. Some profiles are quieter and more disciplined but, personally, I’m not comfortable with the proposition. I keep away from it where I can. I think you can keep on top of the music in this day and age only if you’re focused on it.”
Webster’s diligent application since his studio debut as Sine back in 1993 has ensured an invitation to join Defected’s prestigious House Masters compilation series. Webster’s contribution, released in August, is dominated by brand new re-edits and remixes of his hefty back catalogue, as well as some previously unreleased material. There are new versions of vintage Furry Phreaks licks Lament For A Dead Computer Part 1 and Gonna Find A Way, as well as Charles Webster & Cathy Batistessa’s I Am The Sun. Late Nineties Presence gems Better Day and Gettin Lifted are also included, never before available digitally.
“Defected and I spoke about offering something a little more obscure from my past, something people wouldn’t have heard before” he explains. “There are some more familiar records, too, but everything has been refreshed. I really wanted this album to be something new; in many ways, it’s like an artist album. I couldn’t allow myself to simply lay down old tracks that have already been on countless compilations. If people are going to pay hard-earned money for something then they deserve quality, surprises, something more....”
Webster found himself spending a lot more time putting the project together than he originally anticipated. “I knew this album series was a big deal. I was really honoured to be joining so many of my heroes, artists like MURK. It was amazing. But I still didn’t expect approaching my own album to be so difficult. It really wasn’t as easy as I thought it was going to be; I mean, having to go through all those records and tapes...all the preparation. I did have a system and a fairly good idea of what I wanted to include but you still have to do your homework. It took me a month, too, to complete all of the re-edits and updates; it was a massive undertaking.” Whilst the physical version of the album contains 22 tracks in total; the digital equivalent boasts an additional 14 submissions. Webster would have been forgiven for taking even longer to release.
Does the album format, in general, still have a place in today’s music industry? As the market skews increasingly towards track-by-track downloading, one might convincingly argue that time-poor 21st century audiences do not always have the opportunity or inclination to digest whole bodies of work in one sitting. “Personally the album format is very important to me” Webster ponders. “I’m a massive believer in albums as my discography shows. Albums allow the artist room to play with content, offer a broader cross-section of tempos and moods. That doesn’t mean I’m the format police or anything. If the kids want to shuffle their music players or grab specific tracks, then that’s fine...the music is still getting out there. But I personally think the album has more to give and can work in the current industry environment. There are some albums I actually need to listen to in a specific order because that way you get something more.”
Webster pursued photography at art school in rural Derbyshire before his part-time collaborating with local electronic bands led to a concerted career focus on music. He moved to Nottingham – where he still resides today – in 1984, working in studios with hip-hoppers The Rock City Crew as well as Detroit grandees Derrick May, Juan Atkins and Kevin Saunderson. He also started DJing at key Nottingham clubs Eden, Venus and Barracuda.
In due course Webster progressed to production, debuting as Sine with deep, soulful house EPs including Deep Anxiety and I Like It Deep. Subsequent outings as Megatonk, Presence (synonymous with classic Shara Nelson-voiced single Sense Of Danger), Furry Phreaks and Lo:Rise (with Sara Jay), all courting different elements of the deep electronic dance spectrum, solidified his growing reputation and an ever expanding DJ schedule (gigs everywhere from Russia to the States). Today, he also runs thrillingly eclectic record label Miso, a successor to previous influential label enterprises Love From San Francisco and Remote, and can look back on lengthy tours with full live bands and album sales of well over 200,000.
How does he intend to follow that? Defected aside, away from house music it seems. Webster is already busy working on a new solo album with “diverse vocalists” and a clear downtempo vibe. He has a separate downtempo project with French-American electro songstress Emilie Chick, an “epic, cinematic” long-player brewing with ambient Danish band Bliss and his work alongside Peter Wraight as The Webster Wraight Ensemble, which Monsieur Bradock has also been contributing too. “The Ensemble is a really exciting thing” Webster enthuses. “It’s got instruments and this whole big band jazz angle. There will be an album out this September, and a few accompanying EPs. I really enjoy pushing boundaries.”
Indeed. Webster’s career is littered with interesting stylistic tangents and collaborations. It’s hard to believe he ever gets pigeon holed and yet promoters and labels do still try it on. “Yes, even now, people are trying to put you in a box” he confirms, “but I won’t sit still. I do what I like. I’m not just deep house; I’m a lot of things. All of it is the same music at the end of the day... it’s my music. I don’t actually differentiate; I just produce what I like.”
Does he believe he would recreate the same unique career success if he was starting out in the vastly different music climate of 2013?: “Yes, I like to think so. I’ve always liked to keep moving forward with my music and that approach will always help you standout wherever you are. At the same time, my music is about content, about more than just beats. If music has that detail, and it’s put together in an interesting way, then there’s a good chance it will last and last. Personally, I like my productions to have an emotive context, and to approach tracks in a compositional way and see what happens. Being able to view a bigger picture helps me maintain my momentum.”
Webster is frustrated by clubland’s current “retro obsession”, especially with “deep, dubby” Nineties house. Electronic music should be, he says, moving boldly forward and not relying on historical swagger. However his simple, measured approach to work shines through in the wider opinions he gives on today’s electronic landscape. “There’s a lot of opinion about the health of the scene at any given time but that scene always has good music” he plainly suggests. “You can always find good stuff, and good artists.”
Webster’s DJ commitments are slowing now that we’re into the summer: “That whole Ibiza thing doesn’t really suit what I do, so I tend to make less bookings.” It’s the perfect opportunity, then, to pause, plan and experiment with new ideas, as well as reflect on what has recently passed. “Ibiza is a quiet time for me but I’ve already been to South Africa three times this year” he remarks. “I love it there; they have a great club scene and there’s an amazing atmosphere wherever you play. I’m planning to do more there, most definitely. I’m actually working on another artist album specifically for the South African market, featuring Black Coffee and a few other friends. It’s still going to be a busy summer.”
Charles Webster’s pure, gloriously unfussy brand of music mastery shows no signs of abating....
Words: Ben Lovett
House Masters Charles Webster is out 26th August - order from iTunes
