email interview in full
used for Tipper
magazine Jul/Aug 2008)
How would you say your sound has evolved over time, your
latest material is markedly different to your early output?
I seem to have become best known for the more "dancefloor
breakbeat" material I have released in the past, there
has always been a slew of other styles on the 'back burner
of self-indulgence' throughout the last 15 years. For the
moment, I feel like I have offered all I can to the breaks
"genre" without becoming too repetitious, so
it feels natural to now focus on releasing other styles,
hence the "markedly different material" you
far as the evolution of my sound over time, I would say
the most notable change would be better quality production.
the tools of the trade have sharpened, along with my own
personal knowledge of sound production, the constant learning
curve we are all subjected to has been on the unstoppable
exponential increase. Taking that into account, we could
assume that things will continue to sharpen and focus until
we all explode in some sort of megalithic crescendo. Wouldn't
that be nice.
has your attitude and approach to making music changed since
you started out?
Equipment. More cynicism.
a musical collective...even just as a collective on the
human experiential level, we do all seem to be caught in
a rut currently. I don't think many people would dispute
this. There is not enough focus on simply being creative,
which is sad really, as that is the purest foundation of
sources of inspiration do you draw upon when you're making
you describe how you set about creating your latest album?
simple really. Get up. Make tea and sit in the studio pressing
buttons until it feels like my soul is trying to climb out
of its disintegrating husk. Then I know it's time to take
a break. Then repeat cycle....Ad Infinitum.
you consciously set out to challenge people with your music
or is it just a case of getting your ideas out of your head
other people. But certainly myself. Otherwise there's not
much point right?
you say you're a perfectionist? If so, how does this manifest
itself when you're creating music?
a perfectionist. Just very stubborn.
influence do you think you've had on the current breaks
scene and does that matter at all to you?
much and no.
you feel part of any scene, breaks or otherwise?
seem quite wary of the press. What's behind this? Have you
been victim of shoddy journalism in the past?
Name me someone who hasn't? The only reason I appear weary
of press, is because press, like a lot of musical genres,
follows a formula that becomes tiresome and repetitious.
To be sent the same questions over and over again will start
to grind down one's enthusiasm for interesting answers.
(Hence the reason I opted to skip a question earlier in
this interview :-) ....(please don't take offence to that,
as none is intended.)
your view of the media, the music press in particular?
previous answer should shed some light on that question.
the public perception of you or your music matter to you?
If not, what IS most important to you?
plays a huge part in your music, do you hope to affect people
through using such loud, low frequencies and in what ways?
hope it makes them feel all warm and wobbly and enhances
their weirdness receptors as we spin around on this strange
important is the emotional impact of your music on people
long as people don't throw stuff at me, then I'm not too
much more technology is required in surround sound production?
How does this approach impact upon your production technique
and affect/transmute the ideas you have and how they are
the benefit of any reader unfamiliar with surround sound,
it basically entails the use of multiple speakers (usually
a 5.1 set-up) placed around the listener to create an immersive
sound environment. So one typically requires 5 or more speakers
and an audio interface through which to route them. Other
than that all you really need these days is a computer and
the right software and you are good to go. The real magic
is in the mix, so a huge amount of emphasis rests on the
placement and movement of sounds through space-time. Essentially
your canvas is now enveloping you, whereas with a stereo
speaker set-up, one is sort of "confronted"
by the sound instead of "cuddled" by it.
employs such a different modicum of approach when there
is so much more space to fill on your virtual canvas. It
allows very full and complex arrangements to sit comfortably
in the overall mix. True can be said of the opposite, in
that simple single sounds can be used to such different
effect, than had one been restricted to two speakers.
it this way, it means a lot more hours in front of the computer
and a lot less hours entertaining the outside world. Brain
cap controlled music software anyone?....please?
are an incredibly prolific producer. Does that mean you
are constantly in a creative zone and bursting with ideas
or is it more of a compulsion?
think it's more of a compulsion actually. I'm not entirely
sure what's motivating me to keep sitting down at the computer
all day until my body gives in. Let's face it, with the
amount of bowel emulations I put in my compositions, it
certainly can't be money or fame that’s driving me.
The sound of a gastric catastrophe doesn't tend to shift
too many units, at least not in the musical sense. As I
am sure you are well aware, life is a little on the strange
side, so maybe it's the best channel I've found to swim
my way through the bizarre soup of reality without losing
you try to detach yourself as an artist from outside influences
or negativity (such as other artists, the media etc) so
that your work is untainted by them?
think it's too late. I appear to have already been "tarred
with the ole' tainty brush." Quite liberally.
say: "It's a large pot of taint, that allows tainty
brush to paint."
And paint he will.
needs to earn a living. As a producer and label owner do
you think it's possible to be completely true to yourself
creatively and not make any commercial concessions and still
make a living?
you would have to define the parameters of "making
a living". They are clearly hugely different perceptions
amongst the cross section of society. I can speak only from
my own relative experience and say that yes it is possible,
but clearly I am a lucky exception. Don't get me wrong,
I am not exactly rolling around in a Bentley with Lobster
Bisque running down my cheeks. I do live a relatively humble
existence and just manage to scrape by on what I earn from
music sales and performance, but it certainly isn't plain
sailing. So it's either make do with a minimal income and
ride this insanity until the wheels fall off, or go and
get one of those.....what do they call them again?...."proper
do you feel about your music being used for film and TV?
Does hearing your music in that context change your own
perception of your music?
don't watch TV, so that particular avenue of "taint"
has ceased to tar me. Therefore, yes....TV can go ahead
and license what it likes from me, just so long as I don't
have to be subjected to its tepid wares.
far as film goes, I've not been able to make much headway
into that realm, as it is a very tough egg to crack.
It's something that always has and always will maintain
great interest from me and something I’ve always considered
myself capable of..... it’s just hard to get the work
when there are so many others trying to do so.
say: "patience"...... I say: "Balls. I
want it now...please"
there any point in making or releasing music if you compromise
on any level?
of course there is. If it's the "Bentley and Lobster
Bisque" lifestyle one is seeking and one simply can't
live happily without it, then merely throw enough shit at
the proverbial wall of top 40 embarrassment, that is the
state of mainstream music today and something will eventually
stick. Personally, I just prefer to make strange noises,
'cos I like 'em and they make weird patterns and stuff.
- Ian Roullier, 04/2008