Unpacking the Recipe Behind Goya Gumbani’s EP

There are a couple of things synonymous with Goya Gumbani: loafers, a large hat, and his distinctive neo-soul and jazz sound. As a continuation from his previous project, Warlord Of Weejuns, which references Miles Davis’ alias as well as his affinity for the iconic GH Bass silhouette, Gumbani took pockets of inspiration from his travels to fuel the sound of his latest EP, Bean Pie.

For the Brooklyn-born, South London artist and producer, drawing from his transatlantic upbringing comes naturally. Having been working on his latest project for the past year, Gumbani has curated his story into five songs, exploring the natural challenges in life as crossroads, and the uncertainty that comes with making decisions which he explores in the EP’s focal track, “Come Or Go.”.

“This EP took it back to the foundations for me. It was nice to just go back and make music loosely with the love, passion and care that I started doing it for in the first place.”

He is never short of inspiration, the multicultural environments he grew up in exposed him to diverse worlds that shape his perspective today. His Guyanese and Jamaican heritage is integral to his self-expression as an artist. Accrediting his Rastafarian style to his family, in particular his uncle, who unapologetically embrace their culture through everyday life. Take his signature hat selection, for example, the inspiration spans a broad spectrum of influence, from London-based labels like Nicholas Daley to handmade creations by a fellow New Yorker who knits hats on a park bench in Prospect Park. Bold and adventurous in his approach, he continuously pushes both sonic and style boundaries, gathering meaningful pieces that speak to his visual narrative.

Just like cooking without following a recipe, Gumbani built upon the foundations of his previous work, and incorporated the creative freedom of not making a full album, trialing new techniques and exploring a faster-paced tempo after being intrigued by house music. The sonic flow, in which Bean Pie adapts to, is a result of his open approach to experimenting with new genres, and learning new ways to tell stories which has become a cherished experience for the London-based artist.

Hypebeast caught up with the artist to discuss the latest project and how it’s a reflection of his true love for music.

Hypebeast: What was the inspiration behind the EP’s title, Bean Pie?

Gumbani: I love beans, which my name is derived from, and I was cooking a lot of different beans and stews, so it felt natural without me even having to really think about it.

How has your upbringing in New York and South East London influenced your sound?

The people I’m surrounded by and meeting others from different walks of life have influenced my sound. As well as figuring out how these individual worlds can come together and making it my own

Bean Pie is notably more uptempo than your previous project, Warlord of the Weejuns. Why did you want to take this direction with the new release?

I started working on Bean Pie as soon as I finished Warlord of the Weejuns and I was just throwing things in a pot. I was listening to music that was a little bit more up-tempo and discovering new music but trying to find pockets, that was a challenge I was up for. If I’m being real, I was just making music and Bean Pie is just what it turned out to be. It just felt natural.

Was there a particular genre of music you wanted to explore further on this EP?

I was listening to a lot of house [music] and producers and musicians started hitting me up and I was open to it. I started to DJ more, play more house, study [the genre] and understand how to mix. I was inspired by Moodymann, Peaven Everett, Louie Vega and Theo Parrish as well as a lot of Afro house. It informed me that rhythm is what you make it.

“Come or Go” is a focal point of the EP. What are you exploring through this track?

“Come or Go” is what it feels like to be at a crossroads and having to make a decision without knowing what choice to make. I feel like you get thrown so much in life so this track is acceptance of not knowing which is the right way but I’m just taking the step anyway.

You’ve drawn inspiration from various places. What are some of the most notable experiences that influenced the project?

“Come or Go” was made in New York and “Pretty Lady” was made in Saint-Tropez with two of the other songs made in Nottingham. My mom is from Nottingham, so it holds a special place for me. She migrated to New York when she was in her early 20s, so when she came back to the UK, she moved to London. I’m just absorbing the inspiration from what’s around me and taking my time. One of the producers on the album, Franky Bones, who produced “Geronimo” and “Hold It Up,” is also from Nottingham, so every January we go back there right after New Year’s and work on music for two weeks at my uncle’s studio.

I went to Japan to shoot the music video for “Come Or Go” and it was the most enlightening trip I’ve probably ever been on. I love collecting clothes and action figures and Japan was the most surreal place. I was also by myself for a lot of that trip, so I was fully able to have a lot of alone time.

Your style draws heavily on your Jamaican and Guyanese heritage. How else does your heritage influence your exploration of self-identity?

It’s an embodiment of everything that I am without even thinking about it. My mother and father raised me, and I grew up in a predominantly Black community my whole life so, you kind of walk and breathe it without even realizing how it inspires you. I grew up watching Jamaican movies like Rockers, and The Harder They Come and my uncle was in an RnB punk band in the ’90s. He was dressing exactly how I dress now, and I didn’t even realize. I started pulling up to him, and he’d say, “I used to have a hat like this” and “I used to have dreads.” My family is heavily Rastafarian, so just being in close proximity to that, it becomes your identity without intentionally trying.

What or who inspires your fashion choices the most?

It’s developed over the years. I dress for the mood that I’m in, so I make the decision on the day based on how I feel when I wake up or what character I want to embody on that day. I see people like Gregory Isaacs and I’m like, oh my god, his style is so simple but effective. I see Miles Davis and some days I want to wear suits or Japanese denim. There are so many different inspirations like French painters in the ’40s who wear carpenter pants. It’s kind of just a mix of throwing different things together every day. I’m like a sponge when it comes to that and I also prefer to wear things that somebody might not. I enjoy being daring.

The final track, “Pretty Lady” featuring Salimata, opens with commentary on the importance of dressing well. What are some of your wardrobe non-negotiables? Any favorite brands?

A denim jacket is my current go-to. I always wear a pair of loafers and some kind of big hat. I really like Nicholas Daley because he does some of my favorite hats and I get a lot of handmade items that aren’t from [big] brands. There is this guy in Brooklyn who sits on a bench in Prospect Park knitting hats all day in every color. I like to go to guys like that. He’s also another Rasta man and that’s just his hustle.

What do you hope listeners take away from this project?

I try not to think about that. I just try to be really intentional from the start. But what it’s done for me is something so beautiful, so I’m kind of curious to see how other people feel about it organically. [This EP] took it back to the foundations for me because I’ve made a lot of five, seven and eight-track EPs, whereas the last project was an album, so it was nice to just go back and make music loosely with the love, passion and care that I started doing it for in the first place. I’m really grateful.

Check out the imagery in the gallery above including Goya Gumbani’s Instagram for more.