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Underpass

About Underpass: At the edges of the ever expanding, mutating category known as electro(nica) stands Underpass. Eschewing the strategy for multiple pseudonyms – so favoured by other producers – with neatly accompanying subgenres, he has operated solely under this name for some years. Truth is, in a scene sometimes guilty of generic electronica-by-numbers, with Underpass you never know what to expect. Except, you know, sheer stamina.

When it hits your ear, you’ll recognise something. Undeniably, the music of Underpass is crafted with precision. He pushes synths and drum machines to produce beats and melodies seldom heard, while avoiding any of the po-faced beard tugging those words might entail. In short he makes, not just BPM counts or tone palettes, but TUNES. That said, we’re getting ahead of ourselves.

As a youth, Marshall broke from the claustrophobia of a dull suburb by forming a series of guitar-led punk bands. This was roughly the time when creating your own scene was, for him, the only viable option. When the musical forms and modes became too limiting he received his electronic epiphany akin to what he describes as a “monochrome artist discovering colour”, taking time to school himself in the digital way.




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