CALIBRE 37
CALIBRE ON ART
“Because I am someone who draws improvisationally, I’ve always been
attracted to the surrealists like Salvador Dali and Max Ernst. I like the
idea of being able to meld a clock with a face. That fantasy element
really appeals to me. I can’t get with the broad conceptualism of a lot of
today’s art. I think it’s a bit of blag for me. I’m more drawn to illustrators
like Robert Crumb and Harvey Picard, people who tell a story. And [Swiss
surrealist] HR Giger, who did all the Alien stuff is pretty incredible.”
Dominick Martin is hacked off. Over in London for a week promoting his (as mentioned previously he studied at art college, only to flunk toward
new album, The Belfast-bred producer is back in his hotel room after the end of course so he could tour America), but this image has special
storming out of the Tate Britain in disgust. Multinational oil behemoth BP significance. “I started to get panic attacks on planes recently,” he explains.
are sponsoring exhibitions in the fine art gallery and it’s a juxtaposition “I’ve been flying for ages, but for some reason it started, and planes are the
that doesn’t sit well with him. “It’s a fucking disgrace,” Martin tells Kmag worst place for that kind of thing to happen. So I started to drink heavily
as we sit down in his dimly lit room, the only light source a wide screen because of it and turned up to a lot of gigs pissed. I thought to myself ‘I
television running in the corner. “They just don’t belong in that world. Why have to change this’.” Alongside him on the flight was vocalist DRS, and he
are they sponsoring a fucking exhibition?” Selling out and submitting to was drawing to pass the time. So Calibre started sketching again and you
money hungry conceits are things that could never be squared at the feet can judge the results when the album is released.
of Dominick Martin. He’s forged his own independent path through drum
& bass to where he is today, and it’s been a fruitful journey indeed. There are distinct parallels between creating images and making music,
and Calibre’s style of drawing suggests a lot about his work ethic. The
Calibre is ten years deep in jungle, his first single dropping on Irish label improvisation, the gathering of disparate elements and fusing them to
Quadraphonic Records in 2008. Since that first incision, he’s built up a create something that’s greater than the sum of its parts, each process
portfolio of material that is hard to beat within the genre. A glance through can be mirrored in either discipline. “My drawing is very similar in terms
the swathes of music under his moniker reveals a back catalogue littered of how I make music,” Dom says. “That initial moment that comes by
with undisputed classics and tunes that define points in drum & bass’ accident, but means I can move onto another part of the picture and fill in
history. ‘Overflow’ is Calibre’s third album, following on from the 2005 classic that space between it.”
‘Second Sun’. But while there may be a library of great music to cherry pick
from, finding comment and opinion from the man is a harder task altogether. Years of art college also taught Calibre another virtue which has benefited
Dominick Martin doesn’t really do interviews. Until now, it seems. him massively in his music career. “Always finish the picture,” he explains,
running hand through his straggly hair. “Even if it’s rubbish, finish the
”I think it’s age,” he explains, turning down the sound on the television. picture.” The upshot of that mentality is that Calibre had to whittle down
“Years ago when I was in art college I was told that you always had to have 120 prospective pieces of music for the aptly titled ‘Overflow’ to a lean 18
some kind of philosophy behind what you created. But I was a kid when I tracks. And that massive haul came from a working period of eight months,
made [2001 debut album] ‘Musique Concrete’. I didn’t really understand which is pretty mind-blowing. “But I’ve always said, making drum & bass
what I was doing. So talking about it was pointless.” is catharsism,” he says. “It’s a great leveller. No matter how much things
in life annoy me or get me down I can always go into the studio and feel
It seems as the years have passed Dom has gained a stronger grip the dehumanised and get away from things.”
methodology of his music, and what it means to him on a personal level.
He’s now eager to talk about it, and the things that make ‘Overflow’ a So with the album done, the press commitments fulfilled, and the
special album for him. “I guess the real difference this time round is the accompanying DJ gigs nailed, what’s next for Calibre? “I’m going to go
fact I started to use my own vocals,” he explains. “I’ve actually been singing home, and wait for the reaction to the album,” he says. “If it’s not received
for years, but never acknowledged it. Only little hooks here and there. But well I’ll be pissed off about it, sure. But I’m used to living in an underground
I’ve become more confident, and it’s a new avenue for me.” in an underground. For some people my music is set in stone, but for others
it flies over their heads like a kite.”
This new found belief in his own voice has meant that Calibre is no longer
afraid of disguising its origins, and his self-consciousness has in fact Martin is passionate about his music, and clearly cares a lot how it
added to the creative process. “Because I was nervous singing, I was is perceived, but it appears he doesn’t hold out much hope of it ever
worried that my next door neighbour could hear me when I was recording transcending the boundaries of the genre and becoming even greater.
so I developed this low nasal sound. But it worked, so I kept that style.” “The reason why Pendulum are massively popular is because their music
is designed for big rooms with lots of people,” he explains. “I’ve always
There has always been an intimacy about Calibre’s music. As well as the tried to make music that is subtle and based on hearing in smaller
subtle sonics, there is a rough-around-the-edges charm about it that environments. There’s something that’s very personal about it. Because
feels more organic and lifelike than a lot of the slick, highly polished that’s what life is. It’s an intimacy that’s broken up by going to the shops,
d&b that fills ears nowadays. With the addition of personal lyrics coming or going to clubs and meeting people. And besides, drum & bass will
from his inner thoughts, ‘Overflow’ is without question Calibre’s most never be considered a credible form of music for a lot of people, so there’s
personal album to date. ‘In the last three or four years I’ve started to read no point getting too wound up.”
properly for the first time in my life,” he says. “A lot of the prose writers, like
Bukowski and Hemingway. I love the way they write about the mundane Drum & bass may not be ‘credible’ to many, but for Calibre, it’s been a
stories in life. The discrepancies. The stuff that people don’t sing about if cornerstone in his life, and it’s something that continues to fascinate and
it’s a top ten tune. The great songs are always the shit situations that life drive him. He’s seen the music grow, and the effect his contributions have
throws up.” Don’t expect songs about shaking your body then? “Exactly,” he had on the development on the scene. “I can see that the work that I’ve
adds. “Even in drum & bass when people started to sing on tunes it was done has influenced things,” he says. “That makes it special for me. The
always about the fucking bass. Where’s the message in that?” people and places I’ve been, I feel like a member of this family. Sometimes
I don’t and I feel very isolated. But still it stays with me. I’m part of the story
Another factor that makes this album an intimate one is the artwork on the of how things have developed.”
front cover. It’s an illustration done by Calibre on a long haul flight in the
Southern Hemisphere. Drawing has always been one of his great passions And it’s a story that hopefully still has many chapters to come.
K36-37_Calibre.indd 37 23/4/08 12:57:05
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