A chat with Funk Cabal...

FunkCabal’s debut EP Open Up is a wild, genre-blurring ride that fuses electro-funk, cinematic art-rock, and everything in between. Built on a push-and-pull creative process between two artists from opposite ends of the musical spectrum, the record is both eclectic and unmistakably theirs. With gritty analogue textures, ethereal synthwork, and unexpectedly raw lyrics, Open Up feels just as at home on a dancefloor as it does in solitary late-night listening. We caught up with Tom and Drew to dig into their process, their sonic inspirations, and the chaos behind the cohesion...

Your EP "Open Up" blends elements from electro-funk to cinematic art-rock. Can you talk us through how you managed to unify these diverse influences into a cohesive release?

TOM: We just throw stuff together and it either works or it doesn't. For every track that works there are plenty of failed experiments. Sometimes you've just got to tweak elements til they fit.

DREW: We just worked really hard at it!

You've described your collaboration as coming from "different ends of the musical spectrum." How did your individual backgrounds influence the creative process for this record?

TOM: I write stuff in a jazz-funk style and then Drew will lean into the art-rock style, then we argue until one of us relents and we meet somewhere in the middle.

DREW: I can confirm this process.

"Open Up" has a unique mixture of vibes. How important is this contrast in creating the emotional landscape of your music?

TOM: I'd say the contrast is pretty crucial. Particularly the lyrics being quite different than what you might expect on a jazz-funk record. I'd hate to be a carbon copy of anyone else.

DREW: It’s one of the great things about collaboration, on Open Up I think we wrestle the reins from each other in an interesting way. At points Tom has us at maximum jazz-funk and then moments later I’m pushing a much darker, almost industrial tone.

Your record has been described as sounding like a blend of Kerri Chandler, Massive Attack, and Gil Scott-Heron. Were these artists intentional inspirations, or did this stylistic similarity emerge naturally?

TOM: Described by us for the sake of giving people a reference. I try to not copy any aspect of an artist's aesthetic too closely. I think it's better to listen to a wide range of music and hopefully have some of the vibes rub off on you.

DREW: Definitely unintentional. It’s interesting because in Tom’s productions I hear references he might not listen to as much, artists like Vangelis and niche New York bands like Cobra Man, these spark melodic ideas in me.

"Parasolia" and "I Think I've Lost My Way" stand out as they certainly push into more club territory. Could you share the stories or themes behind these specific songs?

TOM: The former was mostly written by Drew so he can tell you. The latter was one of mine. It's about depression and apathy. Probably unusual for a Patrick Cowley style banger.

DREW: Parasolia sounded like a beach runway on the French Riviera, so it felt quite natural to write about carousels of self medicated poseurs comparing the size of their yachts.

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The lyrical themes of the EP explore life's complexities and contrasts. What inspired this particular direction lyrically?

TOM: We wanted to sound deeper than we are.

DREW: We almost called ourselves ‘Edgelord Mafia’.

Your music incorporates both gritty analogue textures and ethereal synthwork. How do you strike the balance between these sonic worlds during production? The production as a whole is outstanding - if you can tell us a little bit about the production of the record.

TOM: You just push things until you go too far and then you dial it back. I tend to record an absolutely absurd amount of layers of synths and drums and then it's a reductive process.

The EP is described as flipping between genres effortlessly. Was there ever a concern about cohesiveness, or did you embrace this eclectic approach from the start?

TOM: I definitely wanted it to be eclectic. I like having a scope of intensity and style. So far I think we've managed to make it all sound like one band or project. We had a bunch of material to choose from and one funk jam, two italo disco bangers and one ballad seemed appropriate for our first EP.

DREW: I was never concerned really about cohesiveness, mainly because there’s a definite identity to both of our contributions; that keeps us in whatever lane we are carving out. Personally I really like how we’ve crossed genres and retained a ‘sound’.

Lastly, your music seems particularly suited for both introspective headphone listening and other environments. Was this intentional from the outset, or a happy accident during the production phase?

TOM: I think it was intentional making the tracks in such a way that it could work well at home or in the club. The vast majority of music I've made up until now has been high-intensity club music so it's nice to have a change of pace.

DREW: Yeah I think both of our backgrounds have permeated the songs to a point where it suits both. Coming from the more alternative side of rock music the record and listening experience is very different to Tom’s club approach; they’ve married up well.  

What’s next for Funk Cabal?

TOM: We're making a 4 hour ambient-gabba concept album.

DREW: Yeah we’ve been working on a follow up and working up some live set concepts.

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