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Jon Hopkins is a spreading name within the music scene after the album “Immunity”. I  encountered his music with the “Insides” album and loved it all the way around. It is hypnotic, cinematic, visual and highly emotional. This article is on Jon Hopkins music, workflow, insides and more.

Jon Hopkins is a classically trained pianist ended up becoming a electronic music producer and composer for films. He has produced for Brian Eno, Coldplay, David Holmes and others. He explains his music as a transition between acoustic stuff and really heavy electronic stuff.






For me, one ambition I’ve always had is to be able to play within one set really simple acoustic stuff and really heavy electronic stuff. At the Royal Festival Hall show, I really put that to the test. I thought, this could go either way. You’ve got the ravey fans who want to jump up and down throughout, and maybe some of my older fans out there who might want to sit down and listen. But in fact it felt like people sat down in the loud bits and jumped up and down in the loud bits. What I wanted was to take the audience from really calm to real outbursts of energy… I don’t want to fit into this thing of having a constant tempo, a bass drum going at all times. You know, I don’t come from that background. All my sets change tempo all the time. I want that extreme – up and down. 

While producing he uses piano, synths, recordings and his own voice, generally within a processed approach. This inspiring video interview is on his producer workflow & insides,

When it comes to live performance, Hopkins prefers a set of KAOSS Pad ‘s and freedom to play & experiment with his mixes. His words on tools he uses on stage,

I needed something to do onstage and I’d seen Brian Eno using these Kaoss pads. It sounded great. So I tried putting audio through them, in a slightly panicked way – ok that’ll do! And then we did 40 shows together, and onstage I kept discovering things I could do with them. I got really deep into them – started looping, getting into different effects. And they kept bringing new models out, so I just kept increasing.

Ableton is pumping out different channels – drums in one, bass in one, the riff in one. And you can just completely dismantle the sound, loop bits… I don’t synch them at all, so if I hit loop at the wrong point it can go totally out of time. It’s a more fun way to do it live. Rather than everything safety-clocked.

Jon Hopkins Albums

Immunity (2013)

Insides (2009)

Asleep Versions (2014) – Ambient

Opalescent (2001)


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