Multi-instrumentalist and composer Will ‘Quantic’ Holland stopped by The Chapel in San Francisco last week, showing off chops that made him known throughout the States, Europe, and South America. His style’s pretty accessible, considering he incorporates different genres into his work over a 9 album course starting in 2001. We spoke a while back, touching on his upbringing, the groundswell of support he’s received, and his work with a personal favorite of mine, Alice Russell. Below is a quick Q&A. – DM

**Here’s a ‘Best Of Quantic’ mix from a few years back by none other than J-Rocc of the Beat Junkies.

Talk a bit about your musical background and history a bit. What instruments do you play? What was the first instrument you picked up? Which would you say is your main one?

My Mum and Dad were into alot of music before I was born, my father played Guitar on Welsh Television regurarly in his teens and my mother played fiddle and sang, they were quite a musical couple interested in Folk music in general, Bluegrass, English Folk, Irish. By the time I was born, my father had taken up banjo and both him and my mother had a house full of instruments, dulcimers, ukeleles, a piano and various british made banjos. My sisters had a ukeleles each and I was taught to play guitar by my dad as well as reluctantly taking piano lessons with my mothers friend. It turned out I was pretty hopeless at it all and rarely enjoyed singing in the family car like my twin sisters did.

Your father was pretty influential then.

Yeah, he was a lecturer and part time computer programmer, so as the 80s progressed, our music room was gradually filled with computer equipment, first a BBC Micro and then various Archimedes machines. My father showed me how to program bits of code and eventually, once computers progressed, how to sample and record. He also bought me a cheap electric guitar once I had gotten into my Iron Maiden ‘Powerslave’ period and out the other side into Nirvana. At 16 my mother leant me money to buy a simpe yamaha sampler and that got me interested in looping, especially using the onboard mic to loop up piano chords and use instruments from the house. Around that time I had inherited a Uher portable reel to reel tape recorder from an uncle on my mothers side who had a sound recording business and I had an uncle on my fathers side who was a DJ and record producer. I remember him bringing us a 45 to house, one each for me and my sisters, he was into managing pop groups and seemed a world away from my household’s folky outlook. But gradually the idea of producing records and stylizing sound in a recorded fashion dawned on me.

Which albums have most profoundly affected you?

There are a few landmark records for me, when I first heard Sly Stone’s ‘If You Want Me to Stay’ that blew me away, so did Carla Bley’s ‘Escalater Over the Hill’. I also remember loving Led Zeppelin and Black Sabbath at a young age, their Drums and Guitars seemed so powerful and expressive. As I got further into music and it became more accessible with the internet, I discovered more by Moondog, Richie Ray, Fela Kuti, Arthur Verocai. More recently, hearing ‘Krishnanda’ by Pedro Santos from Brasil changed my ears forever. From getting into 45s at a young age, I had the luck of coming across some really good Northern Soul and Jazz. I managed to pick records cheap like Pearly Queen’s ‘Quit Jivin’ and Russell Gorden’s ‘Double Booty Bump’ and started playing at house partys with my friend Russ Porter. I was lucky, because the Midlands and Northern England has a strong appreciation of American Black Soul, Ballads and Dance music. I was growing up in a period where I could find Chicago and Miami 45s in my local store for cheap but also there was good Dum and Bass being produced, great and exciting UK urban music being made, it was a good time. The Midlands is not the most picturesque of places, but it had alot of Soul.

When you write a composition, do you purposely try to incorporate different stylistic elements or does it occur naturally as it’s being written?

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