Words: Colin Brownbill

“VIP is pretty sweet - I got to use toilets that had only maybe been shat in a 100 times that day.” Edwin Organ doesn’t take himself too seriously, so when asked about his much anticipated live show at T in the Park last month, his response is refreshingly candid: “The crowd were very nice; I was surprised anybody had surfaced at half 1 on a rainy Sunday to come and see me, but it all went down a treat.”

The Glasgow-based producer and vocalist has created quite a buzz over the last few months, catching fire with his debut offering ‘Charlie’s House Cut’ – a 3 minute flash of fizzing synths and stuttering drums. It’s the type of instantly-endearing nugget that will roam around your head for days and introduces Organ as someone who not only knows how to write catchy, innovative electronic pop music, but someone who also knows how to put a smile on your face.

Recently uploading an eccentric pocket-jam by the name of ‘Janene’, as well as a strange video of him covering LCD Soundsystem while being smothered in non-toxic goo, there’s a satisfying sense of spontaneity about Edwin Organ which has us hooked. So is there any point in asking what comes next? “More songs, more videos and more band members” he tells us. “Have you every seen a sinewy man washing a 2000-reg Peugeot 206 in his underwear? Get ready for that too.”

Listen to both ‘Charlie’s House Cut and ‘Janene’ below and read our interview in which we attempt to talk seriously about his music:



SynthGlasgow: You recently played the T Break Stage at T in the Park alongside the likes of Tongues and Bloodlines; what was the experience like playing at a major festival and how do you feel your performance was received?

Edwin Organ: I never got round to going to T in my salad days, so it was nice to bum a free ride into the festivities by playing it. We went to go see Travis on the Saturday night; felt very 00’s. Who knew they had so many hits? They probably did. But we had an early night and an early rise, so no Slam Tent for me. The crowd were very nice, I was surprised anybody had surfaced at half 1 on a rainy Sunday to come and see me, but it all went down a treat. VIP is pretty sweet - I got to use toilets that had only maybe been shat in a 100 times that day.

SG: You covered LCD Soundsystem’s ‘I Can Change’ in preparation of T in the Park, shooting a fun and ridiculously messy video to accompany it. What sort of madness inspired the video’s concept? Have you got a clear idea of how you’d like to be represented visually?

EO: Yeah, I saw a lot of the other acts having album launches and video screenings and thought I should probably do something to make this whole thing appear to be a well oiled machine. I’ve wanted to be drenched in golden liquid for the purpose of documenting it on film for quite some time now. Honey is very expensive to buy by the kilo, so we had to get creative by other means. All I’ll say is that it was non-toxic to humans.

SG: What excites us about your music is how you deliver quite eccentric production while retaining an accessible pop sensibility. How did you arrive at such a distinct sound and what influenced you along the way?

EO: Programming your own synths is probably the best way to find your own sounds, or at least find new sounds, and anything sounds good with jazz chords. Pop music has been ripping that sound since it came about. Who doesn’t fuck with a major 7th?

Photo by Cameron Brisbane

SG: With regards to production, how does the song-writing process usually takes shape? Are you inspired by particular sounds, do you start with a lyric or do you just plug in and see what happens?

EO: You can pluck an idea out of anywhere or any song really, but it’s not so easy to turn those ideas into something that lasts longer than a minute. But once you start writing and saving an idea you have, something good will crop up - kind of like the infinite monkey theorem, just with more self belief. Lyrical content can be whatever you want it to be: if you want to sing about how bad you feel for your basil plant dying on your windowsill then you totally should. That’s my philosophy.

SG: You described your first upload, ‘Charlie’s House Cut’, as an “ode to an unfulfilling night out”. Have you had any fulfilling nights out in Glasgow recently? Do you have any favourite clubs or parties?

EO: I used to be partial to a good club night, but nowadays my dancing shoes are only truly invigorated by northern soul classics. That’s rendered me a bar drinking fellow of late, which is good for socialising but terrible on your wallet. I did see Gerd Janson recently at Sub Club; I’m too impatient to wait in queues for drinks so forced everyone else to hydrate me will I cut shapes to techno. I was fulfilled.

SG: So, we’d imagine there’s plenty for you to look forward to over the coming months; can you let us in on any exciting revelations, releases or shows you have on the horizon?

EO: More songs, more videos and more band members. That’s the plan of action, and probably all I can tell you at this point in time. Have you every seen a sinewy man washing a 2000-reg green Peugeot 206 in his underwear? Get ready for that too.

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