Since winning our producer competition back at the start of 2011, Chris Jordan and Ben Webb KORT have been on quite a ride. Their winning track ‘Tomorrow’ was the first release on the re-launched Copyright Recordings and shot straight to No.1 in the Traxsource chart, beginning an extraordinary run of success for the label.

Now, after a sterling performance at their first Defected In The House gig at Ministry of Sound, the duo are about the front a new compilation series from Copyright’s label; Master Output.

Here we catch up with Chris and Ben for a quick chat about their initial flirtations with house music, their studio relationship and their plans for world domination…






Copyright Recordings 'Master Output' Mixed by KORT by Copyright Recordings

When did you first start producing music? Is it your full time career or do you work as anything else other than musicians?

Chris: I was co-writing and engineering with an eclectic independent house label called G-Force Records during the 90s, and did first productions with them, although I had been experimenting with my home set up since 1988. Those were the days of vinyl, tape, Atari’s and MIDI and I put in many studio hours learning the craft with some notable successes and the occasional Radio 1 play.

Ben: I have been experimenting with electronic music since 1998. My first commercial production was in 2001 under the moniker of Knights of the Round Tables, the first release being ‘Saxed Up’ which was DJ Spen’s first remix with the Muthafunkaz.

Music has become our full time career for the last twelve months largely due to our association with Defected Records and Copyright Recordings which has raised our profile and for which we are extremely grateful!

Tell us about how you first hooked up with Copyright?

We entered the Defected Producer Competition last year with our track ‘Tomorrow’ and luckily enough for us it won. Sam Divine then invited us down to one of the ‘Heads Up’ parties in London where she was playing; we met Simon Dunmore (in Chris’ case a re-introduction as they first met when Chris was Assisting Producer for Sarah HB at Kiss FM who used to work with Simon at AM:PM)

And Sam and Gav Copyright. They all loved the track and have have been great in helping us grow as producers. With all their experience and knowledge we are very grateful to them for giving us the opportunity.

Why is house music such a passion for you both?

Ben: I fell in love with house when I was taken by my friends to my first house club in 1995; from then on there was no turning back! For me house is a spiritual thing… it’s a madness that you can’t see or touch, only feel. House is like my mistress; I go home to my wife but I’m still thinking about music.

Chris: Right from the moment I first heard House I knew it was the music I was waiting to be involved with. I got into the early house scene in 1988/9 and went to some unforgettable gatherings and my life was never the same! House gets into your very bones! Through all the twists and turns that house has taken over the years I’ve remained true to the original spirit of four-to-the-floor and am proud to be a part of the continuing story.


Tell us about your first initial introductions to music…what did you both grow up listening to?

Ben: I was brought up on soul and Motown as far back as I can remember, especially Sam Cooke. Prince and Michael Jackson were also massive influences. My dad would make us listen to Billy Joel and Paul Simon and I later realized that lyrically and musically both are genius musicians. In my early teens I was listening to array of different artists such as The Doors, Jimi Hendrix, Bob Marley. ...it’s nice to listen to different genres of music. It gives you a slightly different angle on what you are doing

Chris: My musical influences have been very diverse. I grew up in the era of classic songwriting; Lennon/McCartney (hard act to follow!) and Motown then got into the Parliament, the early albums  of Stevie Wonder (Innervisions), the disco era (although too young to go to any!) then experimental electronica such as Kraftwerk and Can. I was very influenced in the early 80s by the productions of Brian Eno, especially in collaboration with David Byrne from Talking Heads (My Life in the Bush of Ghosts).

I also listened to dub reggae and used to go to the WOMAD festivals and got into some electro and the original hip-hop; a guy I used to know at an American air force base in  Ipswich had masses of LL Cool J demos on cassette! Then I heard early house records around the end of ’87 and became totally hooked.

How did you first meet each other?

Ben: We met when I was DJing at Pacha in London a few years ago. A coach load of our friends was coming up to see me play there and Chris was a friend of one my cousins. We got introduced, found out we had loads in common. Chris told me he was an all-round musician and so he started playing live percussion and keys in my DJ sets. We then hooked up in the studio and things just clicked for us.

Why do you think you work so well together in the studio? What does each of you bring to the table?

Ben: I have an unhealthy obsession with drums. I write and programme most of the tracks whereas Chris engineers, plays and does most of the mixing. His attention detail is second to none. We consider that we both have equal input into all aspects of working on tracks. I also think you have to be honest. You have to feel very comfortable with each other for either of us to say to the other “I don’t like that part” or “that doesn’t work…”

Chris: I think we both have respect for each other’s abilities and strengths and are both able to learn from each other so that our roles do not remain static but are continually evolving. We clicked in the studio right from first working together and both bring a different element to what we do.

You got off to the best possible start for Copyright Recordings with ‘Tomorrow’… why do you think the label’s struck a chord with so many people since its relaunch?

Yeah we were very lucky to get our first Traxsource No.1 with ‘Tomorrow’ on the re-launch of the label. I don’t think any of us was expecting it. Copyright have been putting out top quality releases for many years so when people see their imprint we suppose they’re expecting much of the same. The Afro tribal Latin thing seems to work on so many levels. For us, it kinda gives off a party vibe and Copyright Recordings bring this full-on with quality releases from quality artists. People are seeing and hearing that, and we feel very privileged to be part of it all.

How would you describe the particular style of house music you make?

We have an Afro-tribal Latin vibe to what we do but we just prefer to call it house… one house, one nation and all that!

What are your plans for the rest of the year…?

World domination! No, seriously… new tracks, more gigs worldwide and hopefully Mr Simon Dunmore would be kind enough to invite us to Ibiza!

Anything else you’d like to tell us about…?

Chris: I was classically trained guitarist and was a Junior Exhibitioner at the Royal College of Music!

Ben: I play guitar and used to be singer/songwriter with a funk-rock band!

Copyright Recordings Master Output mixed by KORT is out 5th March