A normally elusive creature, The Mole can be found most at home behind a DJ booth during the wee smoky hours in the midst of long, drawn-out sets. Known for his love of sonic collage and musical noodling, he boasts a long and colourful list of releases—for labels like Perlon, Ostgut Ton, Slices of Life, Circus Company, Haunt, Musique Risquée, New Kanada, Internasjonal and longtime home Wagon Repair.

A relentless digger with an utter disregard for the structural capabilities of his living room floor, Colin is on a constant one-man mission to keep the record store industry afloat. This means, in his case, approaching music with the kind of open-mindedness and humility necessary for not only acquiring, but learning. Which might be what makes him an ideal bandmate to his friends in Modern Deep Left Quartet and Units & Measurements. “That—or the jokes.”

It’s the low profile, the constant smile and a genuine love for music that make The Mole, an artist with a career spanning over 20 years, an easy one to recognise at a party. He’s the guy with an ear-to-ear grin on his face, wondering why in the world he got so lucky.

Off the back of his latest beat-tape style LP ‘High Hopes’ released via the consistently good & boundary pushing French label Circus Company, we sit down with the elusive artist to discuss the LP, his creative process, his love of sampling and lots about inspiration… 

WWD: Hi Colin, Great to meet you! What’s happening with you at the minute? 

Hi! We just had a blackout in my neighbourhood, so I’m enjoying the last of a fire in my living room. Very cosy, quiet and dark. 

WWD: Congratulations on releasing ‘High Hopes LP’ on the Circus Company. Talk us through the release? 

Thank You. Hmmm, what to say…. Well this is my fifth solo album, recorded over the course of a transcontinental move. Which honestly isn’t saying much given my workflow is more about generating lots of content and then editing down to something palatable, rather than focusing on a singular project like an album. That said, I did all the editing and sequencing here on Vancouver Island, and the recorded materials are a mix from Berlin, Manantiales, and Victoria. Lots of field recordings from Uruguay. Frogs and beaches and family and drums. That kind of stuff. And a bunch of dear friends from Canada that I’m beyond happy to be able to do some music with. Sophie, Rick, Danuel, Julz.

WWD: You have quite a long term working relationship with Circus Company, what can you tell us about that and what is it that attracts you to the label?

I like the team there. I secretly suspect Mathias believes in me. He gives me artistic freedom without hassle. And when I want some advice, it is given freely and without ego. Quite simply, it is an easy and fruitful relationship for which I’m thankful. 

WWD: This is your second beat-tape style LP after ‘The River Widens.’ What was the inspiration to explore and release music in this style and format?

This is an interesting question, thank you. I’m finding more and more interviews that are carbon copies, the questions have no relation to the interview. Thank you for taking the time. 

Inspiration is a curious thing isn’t it? I’m somewhat fascinated by writer’s block. I suppose I like the narrative aspect of this kind of format. It’s closer to a mix tape in a way. I can hide a story in the strings holding the songs together. I’m also quite a fan of instrumental hip hop. Have been since I started djing. I thought turntablism was the greatest, used to buy doubles of everything. Never got very good, but I sure did enjoy it. I was in Montreal around the time Atrak won the DMCs. There was such a buzz. All the heavies were coming through. Still to this day I’m geeked by what Kid Koala does. A unique voice that guy. 

I’m going to take an aside for a story – during the first Detroit Festival (when it had a different name) I saw Kid Koala perform in the Hart Plaza. Big space, lots of people, like thousands. He was doing a party set, nothing but classic bangers and some of his classic routines. During one solo, I want to say the drunk trumpet bit, he’s got the crowd going, I mean honestly it is pretty hard to resist. And at the peak of the solo, it skips….. and thousands of people collectively go ‘ahhhhhh … ‘ .  What a moment! What a sound ! He took it like a pro and kept on cutting, but I kept wondering how that must have felt. Internet says 40 thousand people can fit into Hart Plaza, I don’t know how many were in that area, but it was full. Epic! 

Anyway, long answer to say I like all kinds of beats and doing this kind of format was so fun last time, I had to have another go.   

WWD: For those who are just discovering your music, what do you hope they feel or experience when they listen to the LP?

The feelings of the listener are beyond my scope of hope. I’m deeply thankful that anyone would listen to my music. Time is precious! Finding out someone actually listened, like really listened, that is a refreshing reward every time. But my goals in making are purely selfish. I’m filling a need in me. Making is a meditation. The sharing and hope for recognition is purely ego stuff, from which I suffer and sometimes enjoy. Frankly though, after years of putting out music, I’ve learned to curb my hopes for listeners. It’s unhealthy to search for the acknowledgements, as comforting or reassuring as it is if and when it does occur. I find it much more rewarding to be surprised by an audience. And to continue to blunder down my path without the end result in mind. 

WWD: Can you share some insight into your creative process when producing music? Do you have any particular rituals or methods that help you stay inspired? 

There’s that word again- Inspired! 

I try to challenge myself, change my systems of working. I’m always learning new things about music and music making, this inspires me to perpetually shake things up. I mean, making music, it’s the best. There’s a million ways to do it and they are all valid! 

Doing things in new ways keeps me on my toes, keeps the surprises rolling in.I have to stay open, in case something good happens. 

I used to wait until I caught myself in a trance, then I knew it was time to record. Now I record everything, data storage isn’t precious anymore! Time though… time seems to increase in value doesn’t it?

WWD: We hear you’re a fan of MPC sampling… where do you tend to find cool samples? And are there any interesting ones used on this LP that you’d be happy to reveal?

I’m a fan of sampling in general. Anyway I can. I do still love my MPC though. I have a record cave in my basement, almost all my samples come from there. =)

Hmmm samples on this record.. There’s some Curtis Mayfield. Some John Cage. Joan Dideon and Lucia Berlin. Joan Rivers and Joni Mitchell. Jaki Libezeit. Dennis Colin.

My favourite sample though has to be from the movie Tangerine by Sean Baker. Everytime I hear the transition ‘Bitch gimme your phone’ . Power! 

WWD: Which artists do you think are really inspiring in the electronic music scene at the moment with their approach to making music?

This is a curious question in that I haven’t been to too many people’s spots lately. I’m out to date on what processes people are using out there. I like what I hear a lot. Still jazzed to go record shopping. But the approach …. Well, now that I stop for one second, it’s still Theo Parrish, Moodymann. Harco Pront. But these are old pillars that remain relevant. Still building and holding us up. When I think like that, there’s too many…. 

WWD: Are there any other beat tapes that you’d recommend checking out?

I’m a big fan of Donuts. Sound Ancestors is super dope. J-Rocc’s been dropping some heavy stuff lately. Kiefer. Dj Harrison. Some of that Ammon Contact stuff. Anything Rednose District. Kid Sublime. All of Madlib’s albums. Talk about inspired! 

WWD: When you are not busy with music, what might we find you doing? 

I’m a dedicated father of two girls. You can find me at playgrounds and miniature worlds, ice cream stands and cafes, chilling with little angels.

WWD: Where do you see yourself going in the next five years with your musical career?

Another curious question – I honestly don’t know! Ha… I’d like to work more with my people here, the musicians are heavy on this island, disorganised, but heavy! 

I hope my career keeps going up! It’s been a thrill this far… 

WWD: Finally, feel free to plug anything else…

Right on, thanks…if you are on the west coast, come check out my temporary listening space, Tuntun. It’s a vibe. 

WWD: Noted! Thanks for the chat, Colin 😉 

‘High Hopes’ is available here