George Solar Interview I NuNorthern Soul Artist Q&A
- Phat Phil Cooper
- 2 days ago
- 5 min read
It’s one thing to release a body of work. It’s another to hand it over, step back and see where other people take it.
That sense of unpredictability sits at the centre of Moonbeams In Dub, a three-part remix series built around George Solar’s original Moonbeams project. Rather than treating dub as a strict genre or a fixed set of rules, this is dub as a mindset: space, restraint, rhythm, atmosphere and the freedom to reshape what is already there.
Across three EPs, a carefully chosen group of producers take George Solar’s originals apart and rebuild them from different angles. The results are connected to the source material, but never tied down by it.
George says that inviting other producers to reinterpret his work and surprise him with it “feels like a bit of magic”. That openness runs through the whole project. Each contributor brings their own language, experience and relationship with sound, leaving the originals recognisable while finding completely new paths through them.
Moonbeams In Dub — EP 01
OUT NOW - LIsten and download here
The first chapter opens with three distinct interpretations.
Tribilin Sound takes ‘Countermoon’ deeper and further off-centre than expected, ignoring the original brief and ending up somewhere much more interesting. Marshall Watson reworks ‘O Luar’ from the stems upwards, retaining the spirit of the original while moving it into fresh territory. Ken Fan, who already formed part of the DNA of the original Moonbeams EP, returns to ‘Lunaticotina’ with a version that feels less like a conventional remix and more like a natural continuation.
Three versions, three different angles. All connected.
Or, as George puts it: “Home is where the bass is.”
Early support from Francois K, Don Letts, Max Essa, Mike Salta, Steve KIW, Richard Dorfmeister, Chris Coco, Nick Warren, Jason Boardman, Be Lanuit plus more.
Moonbeams In Dub — EP 02
Released 31st July 2026
The second EP moves further into the depths.
There is real history in these versions: long-standing connections, shared musical language and an instinctive understanding of how the material can be pushed forward. The tracks are patient, rhythm-led and grounded, allowing the space around the sounds to matter just as much as the sounds themselves.
Dubvisionist takes ‘Medialuna’ into new territory through feel and space. Razoof steps into ‘Moonbeams’ with the weight of decades of experience in the groove, while Roots Artefact brings a raw soundsystem edge that adds another dimension to the project.
Different layers, different angles. Still connected to the source, but speaking in another language.
Moonbeams In Dub — EP 03
Released 28th August 2026
By the third EP, everything opens out.
There is a looseness to these final interpretations: the confidence to let each producer fully take control and follow the track wherever it leads. It is the sound of freedom, with no need to force a particular outcome.
Mike Alcaras brings a subtle, musical touch to ‘O Luar’, shaped by years of collaboration and a shared understanding of the source material. Marshall Watson returns for a second contribution, taking ‘Countermoon’ into heavier and more direct territory. Silvio Astier shifts ‘Lunaticotina’ somewhere else entirely, carving out his own space with a distinct voice.
Nothing feels forced. Each version unfolds naturally, which is exactly the point.
“Dub doesn’t push itself on you,” says George. “It draws you in.”
Three final versions complete the series: different directions, the same foundation.
George Solar Q&A
Where are you in the world right now, and what does a typical day look like when you’re making music?
I’m in my casa de campo in the middle of nowhere, way up north in Ibiza. Mostly I’m pondering ideas on the sofa (“creative chilling”), making beats, or listening to my cats’ A&R advice when I play them what I’m working on. That’s how most of my basic demos start.
Every now and then I head over to visit my French-fried sound engineer, Mike, in his campo studio on the island’s east coast, where we try to make the sounds in my head actually happen. As a rule, that all happens strictly PM. There are loads of chickens and cats around too, which definitely adds to the vibe. Anything that helps the inner calm.
Do you remember the first piece of music that genuinely stopped you in your tracks?
ABBA – Eagle. As far as I can recall, it was around 1977 or ’78. I heard it on the radio, found out my parents had the album, and played that track whenever I could — mostly skipping the rest of the record. The vibe and sound totally got me. It was the first time I understood what music production could actually do to a song. No regrets until now — they were a great band.
How would you describe your sound to someone hearing you for the first time — without using genre labels?
Laid back, groovy, deep, and maybe a little different from what you’d expect from someone my age.
What usually comes first for you: a feeling, a rhythm, or a melody?
A beat. A good groove. That probably comes from being a percussionist long before I was a DJ or producer. Rhythm sets the tone for everything else to follow. Even if I mute it later or replace it before final production, my tunes start and end with a groove. As a German, I run best on BPM.
What draws you to the NuNorthern Soul world, and how does it align with how you approach music?
I like the label first and foremost because, without its boss suggesting a George Solar release to me a few years back, my solo demos would most likely still be sitting on the shelf. I’d probably still be too busy writing and producing for other people’s projects and DJing.
NuNorthern Soul has rightfully earned a lot of love and respect for the quality level and Balearic scope they consistently deliver. It’s both a pleasure and an honour to be a NuNorthern Soul recording artist.
Is there a particular time of day, place, or state of mind where your music feels most at home?
The Solar sound hopefully works 24/7, 365. That said, I do have a soft spot for post-sunset and the earlier part of the night. I’m definitely an owl type — and it only gets worse with age 🦉
What are you listening to at the moment that might surprise people?
When I’m not making sounds or checking promos, I hardly listen to anything with beats, if at all. My home listening is super ambient. Brian Eno, Harold Budd, maybe a solo piano album here and there, or some calm, eclectic stuff like Ralph Towner (RIP) and other ECM-related releases. At home, I prefer an open vibe — nothing too direct or busy. No vocals either.
When someone finishes listening to your music, what do you hope lingers with them?
Tranquillity, one way or another. Hope, if possible or needed. And feeling good.
Moonbeams In Dub — EP 01
OUT NOW - LIsten and download here
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