From his 2000 debut studio album, Animal Magic, onward, British electronic musician, producer, and DJ Simon Green, better known as Bonobo, has built a career around immersive, exploratory soundscapes that draw listeners into the worlds he creates. Green’s music has always lived somewhere between movement and atmosphere, inviting listeners to dance, let go, and lose themselves in the worlds he creates. That same spirit of exploration continues to guide Green’s creative process, even as his approach to composition has expanded and evolved.
The Evolution of a Sonic Visionary
Looking back at his catalog and what has remained constant in his music, he says, “I think the most constant aspect could be a sense of exploration. I have to feel like I’m learning to be excited about music. That initial joy of discovering techniques can come from different places, but it has to be there to some degree. What’s changed is the effect of that, the way I approach composition. There’s room to feel more widescreen in the way I make music as well. I like the dynamic of having the music feel intimate, but having the range to open up the dynamic for larger moments.”
That evolution takes shape on his newest album, Distance in Static, released via Ninja Tune, a record that expands Bonobo’s already expansive sonic palette through an eclectic cast of collaborators.
Arooj Aftab, Joy Crookes, Nilüfer Yanya, Ichiko Aoba, Nicole Miglis of Hundred Waters, and Aanya Martin each bring their own distinct identity to the album, adding new textures and perspectives to the sonic landscapes Green has spent years exploring. For Green, collaboration remains rooted in instinct and admiration rather than a predetermined formula. “The collaborations come the same way as always. It’s people I’m excited about and admire. Sometimes those connections come fairly organically, and sometimes it’s a case of reaching out to see if there’s an interest in trying some ideas.”
Geography and the Meaning of Distance
The result is a record that feels expansive not only in sound, but in geography. Lyrics move between English, Urdu, and Japanese, while historic Iranian samples and guzheng recordings sit alongside Green’s meticulously processed instrumentation. The album took shape across Los Angeles, Tokyo, London, and other environments, with each location becoming part of its sonic DNA.
“The record was made across multiple environments and places. Parts were made on the road at the end of the last tour, at home in LA, and in studios in the woods in California and Japan, where I’ve been spending more time recently. It feels quite global in a genuine way.”
That sense of place also connects directly to the album’s title. Distance in Static evokes a tension between separation and connection, between being away from what is familiar and holding onto the memories that remain. For Green, that distance exists both physically and emotionally. “There’s something that’s quite romantic about distance, about being away from things that are familiar constantly. I’ve always felt there’s a recurring aspect of nostalgia in my music, whether that’s intentional or not. The distance in the title refers to time as well as space and static, the yearning to find those forgotten moments or connections.”
Within that broader sense of nostalgia and movement, certain moments on Distance in Static carry a more personal weight for Green. Among them is “Fire on the Water,” which emerged during an especially intense period of recording in California. “I think ‘Fire on the Water’ is the most personal and meaningful to me. The way it came together one day in the middle of this very intense recording period, whilst I was staying at this studio in the woods in California, it was such a cathartic moment realizing this song was brought to life.”
Looking Back to Move Forward
That relationship between past and present extends beyond Green’s own discography. Having released music across multiple eras of electronic music, he has watched the culture shift from the future-facing optimism of the ’90s toward a growing appreciation for and fascination with its own history. “It’s quite interesting that when I was growing up, electronic music was largely in its youth too. The ’90s were so future-facing: the music, the technology, the artwork, and the aspiration of embracing the future as fast as we could.”
He adds, “Since around the early 2010s, we’ve started to see electronic music look retrospectively to the past. We have nostalgia now – misremembered versions of ’90s rave culture by people who weren’t there, romanticizing a version of it, or records from 25 years ago being discovered by younger DJs. I mean this in a positive way. It’s interesting to see how the past plays into the current state of influence now.”
For an artist whose music has always been deeply connected to atmosphere and environment, it makes sense that Green’s creative interests extend beyond sound. Photography has remained another way for him to document and engage with the places he encounters. “It’s always photography for me. I used to actively share more of my photos, but it’s still a discipline that excites me as I travel. It motivates me to explore the spaces I encounter when traveling and touring.”
Ultimately, Green’s perspective comes back to community. For emerging artists navigating an increasingly online music landscape, his advice is to look closer to home before looking outward. “I still believe heavily in real local scenes and building a community away from being constantly online. For artists, come from a local level and build something where you’re from first before trying to assimilate or chase genres to fit into. Find something unique to say that only you can.”