Music is a powerful tool that can help create emotion and drama. We often see music’s emotional effect in film and TV, but I liked Ian’s idea of trying to create a soundtrack for parts of his book. It’s the same process as making music for film, but there is more freedom scoring for a book, as you are not composing for a specific picture. It becomes more about creating an atmosphere.
I think Ian’s reporting is important, both in highlighting specific human-related problems on the oceans and also, as part of a broader push to stop overfishing and destruction of marine environments. I’m happy to be involved in what he is doing.
Active as a DJ, producer and journalist across four decades, Chris Coco left an imprint on dance music as early as the late ‘80s. That early imprint was made as one-third of Coco Steel & Lovebomb, whose popularity peaked with the enduring 1991 12” vinyl “Feel It.” It was around the same time that he spun acid house at Brighton’s Zap Club on Saturday nights. The venue was eventually turned into the Coco Club. From 2002 through 2006, he could be heard on the BBC, hosting The Blue Room with fellow DJ, Rob da Bank. The program’s emphasis on chillout music was given a spotlight through a commercial two-disc mix in 2003, “The Blue Room, Vol. 1.” Coco released the occasional solo production, including the full-lengths, “Next Wave,” 2002, and “Heavy Mellow,” 2005. DJ mixes like, “Real Ibiza: Chilling You Softly,” 2000 and “Chillin’ at the Playboy Mansion,” 2003, as well as remixes for artists such as, Urban Dwellers, Polaroid, Future Loop Foundation and Mark Brown, kept his name in record shop bins. Coco also continued to be just as productive as a collaborator. He formed the trio, City Reverb, for which he provided bass, keyboards, and vocals. He also recorded with Steve Miller aka Afterlife as the Normalites.