Back to index of Nerve 10 - Spring 2007

Music Profile - WhiteNoiseBoy

By John Maher

With a rich musical history, Liverpool's rock scene has been chronicled many times. Whether it be band X or Y, they have come and conquered, all instruments and raucous frontmen.
But we hear little from local beatmakers. Are there any distinguished musicians working in the leftfield? Sure, The Beatles were scrambling sonic noise and rewiring ambience in the sixties, and Ladytron brought electro sleaze to the masses, yet we still fail to have an outright electronica mogul.
Step forward WhiteNoiseBoy. He produces mesmeric, patchwork cuts which drive fluidly from their beginning. His 'NathanBarleyHeads' EP epitomises a unique beat-heavy sound. 'Harvest in the Gutter' sees oriental chants throbbing through jangled guitars and an almost hypnotising momentum. 'Seven Haircuts' has droplets of audio water bouncing off ethereal chords, whilst 'Optimum Ratio' melds a gospel sample to flittering synths.
It's fitting we should meet tonight in Djangos Riff, amidst celestial lighting and high ceilings. Those tracks wouldn't be out of place crashing off the walls of our chosen venue. 'It's head music for people who only have a few braincells left', jokes our man (real name Geoff Skelhorn). 'I'm trying to be original; the music is something which lends itself to different genres'.
This is a trait self-evident on the EP; ideas rebound ferociously. What's also clear is a multi-layering of sound, more than just computed music. How does he get that blend? 'It's organic sounds set to electronic noises', explains Geoff. 'Being a drummer as well I incorporate the electronic side, plus I use a midi-kit and synths'.
Not surprisingly, WhiteNoiseBoy takes his influences from a vast canvas. You can sense such eclecticism in the music. 'I'll listen to music I like, it's not that I'm trying to recreate it, it just comes out', he says. 'Plaid, Squarepusher'. To shore up the idea of man versus machine, he adds, 'Plus the whole Bristol scene; Portishead, Massive Attack, with their blend of electronics and instruments'.
WhiteNoiseBoy is full of praise for the Liverpool picture. Also djing regularly, he considers that smaller parties are the future. 'The best thing at the moment are warehouse parties like Gimpfist and Lost Property, they really have the finger on the pulse. Everytime I've played I've had a ball'. He continues, cautiously, 'It's a healthy scene, but there aren't enough venues putting on the right bands and championing electronic music.'
This is a fear perpetuated when I ponder whether it's harder for electronic acts to get noticed over traditional indie. 'The problem is, there's not many nights supporting that sound', Geoff argues. 'Every year when there's a new influx of students, they get hoodwinked into going to big nights. There's a percentage who don't realise there's more happening in Liverpool.'
For him, promotion is the key. On the issue of getting signed, he is pragmatic. 'I'd be surprised if it's easy anywhere, it's harder because it's underground. I don't particularly mind if I'm not signed, I just want recognition'. And if he keeps producing music with such gusto, he'll readdress the balance and put Liverpool beatmakers on the map.

WhiteNoiseBoy can be found at: www.myspace.com/whitenoiseboymusic
The 'NathanBarleyHeads' EP is due for a summer release.