ARTISTS
Heritage & hardware on Iti's 'Colourful Choices'
Releasing this Friday via Naarm/Melbourne label Butter Sessions, we spoke with the producer about honouring his roots while living halfway across the globe.
For many Australian and New Zealand-based artists, a move overseas presents a better opportunity to turn a passion into a career. Whether in Europe, the United States or across Asia, there are cities, scenes and opportunities that come with more certainty, and so who can blame them?
For Iti, a Meanjin/Brisbane originating artist turned London local, this move hasn’t meant he’s left his home behind, but has allowed him the space to explore it even more deeply. His upcoming EP, ‘Colourful Choices’, is set to be released on Naarm/Melbourne’s beloved Butter Sessions this Friday. His mother’s Irish fiddle playing has greatly informed many of the synths on the release, while the rhythmic traditions of his Pakistani heritage underpin his approach to drums. His upbringing in Meanjin takes shape in his love for physical synthesisers.
In many ways, ‘Colourful Choices’ is an homage to every part of his home that Iti feels within himself.
On the cusp of ‘Colourful Choices’ release, we spoke with Iti about what it felt like to explore those feelings.
Q: What motivated your decision to transplant yourself to London, and what lifestyle changes have you had to make to chase music there?
ITI: I’ve always been drawn to big cities for their energy and diversity. When I was weighing up whether to move to another Australian city or go abroad, I felt the pull of the latter. There was certainly a trade-off - the cost of living is steep in London, and my gig schedule dropped off compared to Australia. I thus had to lock in on 9-5 work.
It’s hard to feel like it wasn’t a regression. I went from playing so much to not playing at all, not having a studio anymore, and having much less time to work on music. But I just had to recalibrate to the reality of London life, which took a while, but now I feel as if I am in my stride.
Q: How did growing up in Meanjin/Brisbane influence your identity as an artist?
ITI: Meanjin/Brisbane is a great incubator for live bands, which is how I began my music career. I played bass and synth in an alt-rock band from the age of 16, which is where I developed my love for physical synthesisers. I love the tactility of hardware, which is why it’s still so central to my production and performance today.
As for electronic music in Brisbane, the city has such a vibrant scene. Strict licensing laws for clubs meant that promoters opted for DIY warehouse parties instead, which gave me the opportunity to curate parties and play more than I may have been able to in other cities. Very grateful for this.
Q: There’s a strong presence of strings on this release (especially on Colourful Choices and Ampersand). What was the thinking behind giving them such an important role?
ITI: I feel that, as listeners, we respond instinctively to sounds that feel natural. Plucked strings always catch my ear on a record, so I naturally gravitated towards them.
Q: Why do you think string instruments aren’t traditionally found in modern dance music, especially outside of Australia?
ITI: I think Australian producers are very forward-looking, and given how powerful virtual instruments are becoming, strings might feel too retro for the types of sounds being made right now. Not sure though.
For me, given the distinctive quality of strings, you somewhat have to build your track around them - like in Pepe Bradock’s Deep Burnt, Octave One’s Blackwater, or the plucked strings across Four Tet records. I think when done well, the results speak for themselves - so we should embrace them more.
Q: The title references the colourful lights and patch cables of your synths — what type of gear did you use for this release, and how central was it to the final product?
ITI: The main ideas across the record were made by layering sounds from two key instruments. The first was my modular system, which is essentially a custom synth made up of various modules, connected by cables. It’s once been referred to as my multicoloured spaghetti machine. The second was the Mopho - it’s this absurdly bright yellow mono synth that’s now discontinued, but it’s one of my absolute favourites. The entire character of the EP is due to these instruments.
Q: Lost In A Tangent features skin-drum percussion — what were you trying to express with this difference, and what was it like recording it?
ITI: I’m in equal parts proud and inspired by my Pakistani heritage as I am by my Irish. Its influence is more obvious in my older work, but it continues to shape how I think about percussion. I love pairing natural drum textures with synthesised sounds - it creates dimension in the music.
Q: You co-founded Pocketmoth with your friend Zach, who’s still in Meanjin. What’s it been like sustaining that collaboration from afar?
ITI: Zach (aka Quincy Raw) and I launched Pocketmoth in 2018 when we were living together, which allowed us to hit the ground running. Parties were a big part of its growth, but with distance - and with him focusing on his PhD while I juggled full-time work - things have slowed down a little. Still, the label is active, and with more music coming out at the end of this year and early next.
Q: What opportunities has moving to London opened up for Pocketmoth?
ITI: There’s a big community of people in London that appreciates the sound we project on the label, therefore more opportunities to collaborate and share music. I think in 2026 we’ll continue to connect with people over in London, doing what we enjoy the most - platforming releases and running events.
Q: Colourful Choices is released via Butter Sessions — what was it like working with Corey & Maryos on the project?
ITI: I first met Corey and Maryos in late 2022 - just before I left Brisbane - when Sleep D and I both played live sets at the same event. They gave me great feedback on some of the tracks I played - all of which now form the EP. It’s therefore great to work with them on an EP. I really respect the guys - not just for how they platform Australian dance music, but also for forefronting live electronic performance in the country.
Q: What does it mean to you to release music on an Australian label while living abroad?
ITI: Despite my various cultural influences, Australia is where I developed as an artist. So to be releasing on an Australian label - especially one that has been foundational to my own taste - feels very special. Butter Sessions has such a deep catalogue, so I’m honoured to be the latest contributor.
Q: What do you hope listeners take away from this release?
ITI: The EP is quite varied - it touches different moods and styles. My hope is that, just like the BSR guys, people see there’s room for music that might sit outside what’s often described as the “Australian sound.”
Q: What excites you most about the near future?
ITI: Right now, I’m excited just to share this EP with the world. I’ll be back in Australia at the end of the year for a tour, and I’ll also have more new music to roll out around that time.
-
Jack Colquhoun is Mixmag ANZ's Managing Editor. Find him on Instagram.
