You’ve got all these keyboards around, you’ve got these acoustic guitars around. So it was one of those things kind of like, of course it would happen. But at the same time, my maternal Grandparents did buy loads of instruments to keep us occupied around the house and to keep us occupied from distractions going on, growing up in Lewisham. So, yeah, I don't know, we are just kind of rebellious in our own way. It's better to be a Doctor, Lawyer, Engineer, blah, blah, blah kind of thing. And I guess it's within that sort of migrant narrative, to take music as a career. My maternal Grandad played Tuba when he was young in Ghana, but he didn't pursue it as a career. But no one, until Kwes (musician, artist and Coby’s older brother), to my knowledge, decided to take music fully as a career. And my mom, she grew up as a Lovers Rock fanatic, which was the thing in southeast London. He was big on buying a lot of vinyl and he was very early into buying music on CD. My parents, especially my Dad, he'd collect records. So tell me a little bit about that family connection to music. So did you grow up in a musical household? I know that your brother has also been really influential on you and a big influence. If he hears this, he's not going to be happy.įrom that tape, you're hearing it's a family affair. You can just hear the love and the excitement. And this is a tape that you recorded when you were how old? For listeners who can't see, it is quite a hefty piece of equipment. I don't know what inspired me to do it, but it's probably because I listened to the radio a lot. During the summertime, I used to pretend to be a radio DJ. Pretty much all of the artists on the Space Jam soundtrack, Jay-Z was on there, Monica, Barry White and Chris Rock –– which actually brings me to a tape that I’ve got with me, a cassette tape, because it was one of the songs that I pretend DJ’d as a kid with my younger brother, who's like six years younger than me. What other sounds did you grow up with that were really influential? But just listening in private in a bedroom, you don't really understand what it's about, but there’s something that's calling out to you. I had a similar thing with a very early Kelis album that I just used to listen to when I was a little nipper. I'm just imagining the young you just sat there. To hear that, hear the sort of ominous quality to it, to be followed by another track, which is just heavy rock, with a sort of ballad sound. That you could imagine being heard in somewhere like Berghain, or Corsica Studios at 3am. The opening track on there, it's a song called ‘The Future’. And what was it as a four-year-old that really kind of captured you? I think I definitely credit that particular record for providing me context for different sounds and different kinds of music that I otherwise might not have understood until, like, my teens or something, or late teens.Ĭan you tell me about that? I've not heard the soundtrack, but what's it like, sonically. I'm not sure when exactly, but I remember listening to it when I was like four or five and I rinsed that CD. What were the first things that spoke to you artistically and why did they resonate with you?Ĭoby Sey: Prince. Zakia Sewell: With everyone that I've been speaking to, it's always fascinating to go back to the very first encounters with music. For the latest episode of Signal Path, Zakia speaks with Coby Sey, who after years spent buzzing around the DIY artist circuit of southeast London has developed a distinctive presence as a performer and producer offering a shifting, disorienting vision of club music on his groundbreaking debut Conduit.
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