We recently caught up with hoyah to discuss his latest album, “Set + Setting,” released on Berlin label BRUKE Records. Shmuel Hatchwell, under his new alias hoyah, delves into the creative process behind his captivating album, which centres around a vast collection of saxophone samples. Embracing limitations such as no ‘beats,’ making saxophones the sole voice, and minimising computer use, Hatchwell crafted a cohesive yet experimental sound. The name hoyah, inspired by both modern internet culture and ancient Hebrew meanings, symbolises a blend of tradition and contemporary expression. Drawing influences from artists like Sam Gendel, Matmos, and Tim Hecker, hoyah’s debut album showcases a fresh and intentional musical approach that pushes boundaries.
KALTBLUT: Can you tell us more about the concept behind your new album “Set + Setting” and how it influenced the sound and production process?
Hi! “set and setting” is a phrase used as a kind of conscious checklist one tick before embarking on any kind of psychedelic experience (whether it be meditation or LSD, etc). You check your surroundings, are you in the right environment, do you feel comfortable? And you check your internal state, do you feel psychologically prepared? Whilst being an afterthought of the music, this phrase embodies the feeling of the album. The album was made to be intimately me, at a point in time when I was isolated (COVID), in nature, as a new parent.
KALTBLUT: How did the limitations you set for yourself, such as no beats and using only saxophones as the main source of sound, contribute to the overall cohesion and freedom in experimenting with different techniques and tools?
After the band I was previously in said farewell, I spent a long time searching for a sound to call my own. I repeatedly found myself falling into formulas and being held back by the inevitable inclusion of my voice. Laying out limitations and guidelines was something I learnt from becoming a new parent alongside Sanna Helena Berger, a truly great artist whose self-discipline is really what inspired me and got me to the place where I could conceive a consistent body of work.
The beautiful thing about building creative boundaries around yourself is then you get to play with their malleability. Once those core foundational elements are there to create cohesion amongst different songs, I could explore different ways to establish a rhythm or play with the intensity by removing them instead of my previous formula of adding them.
KALTBLUT: What inspired the decision to stay away from the computer for as long as possible during the creation of the album, and how did this impact your creative process?
Really just about dedicating myself to the MPC – wanting to be able to play it like an instrument, and at the same time develop a deeper understanding of it. Using a computer gives us endless possibilities and what I’ve increasingly found is that endless possibilities either require distinct concepts or intention. There’s a comparison between a swimming pool and the ocean in here somewhere…
KALTBLUT: Utilizing a mammoth bank of saxophone samples is an interesting approach. Could you share more about how you curated and manipulated these samples to create the distinct sound of the album?
*I rented and learnt the saxophone for a brief stint as a child, but was not able to afford to own one so I feel as if it follows and haunts me… maybe it’s a method for me to liberate myself from that?
The curation of the samples was separate from the music-making process – I, for the most part, gathered and organised the samples first and then started making the music. For me, it’s about workflow, and making sure that the path from idea to recording is as smooth and uninterrupted by technicalities. Manipulation-wise, I wanted to keep the quality of the sounds as authentic as possible, as if they could have been a real saxophonist (see *).
KALTBLUT: The name “hoyah” has an interesting origin, blending modern references with ancient tradition. How did this name come to be, and what significance does it hold for you about the music on the album?
Originally it came from the “can I get a hoya?” Meme. I loved the way it pulled people out of their daily lives into a moment of real conscious connection with another human. And of course, after discovering that hoyah in ancient Hebrew means “to be, become, come to pass, exist, happen, fall out”, the meme all of a sudden became so much more poetic and beautiful. The meme was the cause the discovery was the affirmation.
I think this album is very much summed up by the meme aspect of the name. I felt more consistently conscious and connected to the world during that period (new papa energy) than I had ever before and I would like to think the quality of the music reflects that.
KALTBLUT: Can you discuss any specific musical influences or inspirations that played a role in shaping the sound and direction of your hoyah project?
I think I had just discovered a lot of music around that time which for sure provided me with some deep realisations. Discovering Ulla Strauss, and Claire Rousay for the first time, Sam Gendel and the whole Leaving Records catalogue for the first time, and most importantly mention to my friend Caroline, whose self-titled debut album (and also their live performance) was incredibly inspiring for me.
The lesson was really about texture and how you can translate rhythm and melody in different ways than I had previously thought. It doesn’t always just have to be big phat beats right?!?
KALTBLUT: How do you see the relationship between traditional real-life sax players and the fragmented sample manipulation in the context of your album?
This is an interesting question! I feel like the production of the album takes centre stage as opposed to the saxophone – and as a result of this, I have had people ask me who plays saxophone on the record. I think I was very much trying to emulate the realism of the saxophone but very much treated it as a sample as opposed to a sound source. I would very much like to experiment with performing the songs with a real saxophonist though, to see how there can be a dialogue between the constructed and the free.
KALTBLUT: Finally, can you share any upcoming plans or projects for hoyah following the release of this album?
There is a bunch of visual material to go along with some of the songs – moments from that time (and a very beautiful feature from my daughter as a bebe), so I’m excited to show that to the world.
Because this album was written (now) years ago, I am very much in the process of finishing my second album – a much more conceptual deep dive into the relationship between the judeo-Arabic music of my heritage and transcendentalism…
But for now, I will be performing and developing my live set and continuing my radio show on Refuge Worldwide aptly named “can I get a hoyah”.
I would like to finish this answer with a question though – for you and whoever may read this interview – what do you consider to be your ideal “set + setting”? Ok, thanks bye!
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Photo by @nebieridze.de
Set + Setting is out now on BRUK Records: https://brukrecords.bandcamp.com/album/set-setting-2
