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Last June, Belgium-based label Trading Places Records held a week-long residency with Belgian producer ShunGu and LA based rapper Maxo at a revered 1970s Brutialist house on the outskirts of Ghent. The project, supported by Carhartt WIP, saw the duo spend three days together just after local lockdown restrictions were lifted. While the music they made has not yet dropped, it will potentially serve as a future Trading Place release. The label’s founder Brian Boa was also present, recording the process togetehr with Walid Labr through both a short film and photo diary, which accompanies this feature. To gain a deeper insight into the thinking behind this residency, we sat down with Boa to reflect on collaboration, how architecture informs sound, and carving out spaces in which to create and simply be.
What do you want to achieve with the Trading Places residency? And why did you choose artists like Maxo and Shungu?
Brian Boa: In my eyes, the residencies are sort of social experiments. I’m putting different artists in an environment they are not accustomed to and observing how they respond to it... the architecture, its light and forms. I try to keep minimal expectations stepping into each one. For me it’s all about the human experience more than the outcome itself. We’ve had very prolific residencies and others not so much – and that’s ok. Collaborations are never contrived. We work with extended family, or people who have reached out and whose work resonates with us. Shungu and I have known each other since the age of 12, so our bond is strong. Maxo wanted to work with Shungu and vice versa, we just made it happen.
How was the residency weekend?
Brian Boa: Our latest residency was back in June – literally straight after coming out of back-to-back lockdowns – so it’s slightly ironic that we purposely locked ourselves up for yet another week. Overall the experience was very special: music was made and relations were built. As far as the outcome goes, something I’ve learned over the years is that you cannot force timing when it comes to music, and if you do, the end result will be impacted. We avoid that.
How did the artists react to the rather unusual environment of a brutalist house? Did it inform the work they made?
Brian Boa: The response to such a space depends, I think, on individual codes, and how they relate to those of the architecture. I don’t wish to speak for them, but I believe it was challenging. I think it did affect the way they worked, for better or worse — you’ll be the judge.
Do you plan to continue the residency?
Brian Boa: Definitely, it’s an ongoing project. And each time the benefit is that we learn new things about ourselves and others. This allows for each edition to naturally differentiate from the previous.
The way I see Trading Places is beyond a record label format.
You also run the label Trading Places Records. What does the future have in store and is it linked to the residency?
Brian Boa: The way I see Trading Places is beyond a record label format. So far we have worked on installations, sound design, fashion shows, performances, music releases, garments, etc. I think one of the most important aspects of the label is the collaborative one.
I want to keep Trading Places as a medium to invite artists of varying practice to join us on different projects. For example, for our last record we commissioned Paris-based artist Assia Dramé to work on the vinyl cover. Her illustrations spoke to us in many ways and I personally related to it very much, so it was amazing being able to get her involved and successfully translating a message together.
This is our way of involving the greater community of creatives we belong to, and building with them — from this point of view I really don’t see any limitations as to where our work can go. But the label is also born as a consequence of growing up and not having spaces to express ourselves. We couldn’t relate to what was being offered on a cultural and spiritual level, so there is a will to speak to the following generation, while inviting them to just be.
At the same time, it’s about representation, you know. Belgium is still very small minded and we feel as though there are still many layers and issues to tackle. Occupying spaces that are rarely occupied by people that look the way we do is a way of getting our message across. And of opening people’s minds on the way they relate between space, institutions, and themselves.
Can you name your current top five records and tell us what makes them special?
Brian Boa: I won’t label it as my top, because it automatically excludes records that I love equally. But my current rotation is:
Shiloh - Lost For Words by John Glacier
I happened to spend some time with ‘Heavy Metal’ John for a project back in June… She’s from another galaxy. Really, she means business, and has such beautiful energy too. My favourite rapper right now.
Space 1.8 by Nala Sinephro
On some Alice Coltrane vibe really, it is that good in my opinion.
American Spirit by John FM
Agitor Lucens lV by Arco Iris
Orcorara 2010 by Elysia Crampton
“Heaven to a Tortured Mind” by Yves Tumor
The most streamed artist in my library I think.
Black Metal 2 by Dean Blunt
Always three steps ahead.
Geovariance by Anna Wise & Jon Bap
Donda by Kanye West
I’m not even sorry, it’s just too good, storyline, production...
The Crashing Sound Of How It Goes by Cities Aviv
Shout out to Gavin.
Take The Evil Spirit Away by Senga Ferreira
It’s our latest release and you should listen to it!