15 questions with… BON
Though they first made a name for themselves back in 2018 with the release of the mixtape 33:33, Alex and Yerosha have since worked with a cadre of experimental artists, all operating at the intersection between electronic music, hip-hop and grime, including Gaika, Mykki Blanco and Kojey Radical.
Evidently natural collaborators, they’ve enlisted the talents of some equally visionary producers and instrumentalists (Laraaji, Lucinda Chua, Maxwell Sterling) for their latest record, which takes a stylistic turn towards ambient, new age and modern classical domains.
Due out September 10th, Pantheon is a visual album that’s described by BON as a “ritual to the goddesses” – each of the record’s 16 tracks is named after a goddess, celebrating and embodying these archetypes in sound through their own sonic pantheon. The music itself is abstract and atmospheric, a drifting, blissful soundworld that recalls the luxuriant tones of Brian Eno’s LUX.
We spoke with Alex and Yerosha as they prepare for the release of their debut album, getting an insight into the techniques, equipment and creative philosophies that underpin their artistic partnership.
1 Tell us how you got into music production in the first place?
Alex Morris: “I loved the idea of recording things and seeing how you could alter and manipulate them with machines and computers. I started in the bedroom with a ThinkPad and an Akai making techno and electronic music and playing the music I made with friends and the music they made.
