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Enter The Void: Squarepusher



Well I first saw your Ufabulum material at Manchester’s the Warehouse Project and one of the observations we made was that it was far more cinematic than we’d expected. It was almost as if someone had score Gasper Noe’s  drug laden ‘Enter The Void’

That’s great. I’m glad it triggered such a reaction. That’s what I’m looking to do with that type of performance when I’m programming. I look at the equipment and listen to the sounds and think “Right, now how can I feed this some PCP?”. The visuals need to be complement the music to create one entire experience where people question what they have seen. I’ve seen certain ‘Live shows’ wherein the artist has just boshed up a few random images with very little thought or planning and the visual accompaniment is in no way connected to the music. For me that’s a waste of time and worse than offering nothing. When watching Ufabulum I wanted people to feel as if they were experimenting with drugs even if they hadn’t ever done so I wanted them to feel like they had actually had that 90’s in a field feeling of intensity. It is undeniable regardless of your moral opinion that rave culture is inextricably linked to drugs and that is what I was aiming to convey and the experience I was trying to share so if you and your friends felt that then that’s great.

You got to unleash the show on London’s iconic Roundhouse. What was that like?

Well for me it was just one massive playground, to be given the chance to perform in such esoteric ambient surroundings was a unique opportunity.  I wanted to give the venue a particular outing it hadn’t seen before and the layout allowed me to facilitate my ambitions by taking over the entirety of the space it had to offer as I could then begin to build several sound installations to truly surround and immerse someone attending.

How do you feel the rise of digital software which has help breed a new generation has affected electronic music?

Well it is certainly as lot easier now, and that’s not a criticism as with current technology you can easily have access to what would have been a quarter of millions pounds studio equipment on your laptop for under a £1000 and the library of sounds readily open to people making tracks at home is enormous.  Artists from my generation had to make the best of what they had and spent many years earning enough money to get the instruments and equipment they had and so they made the most of what they had. Again I say this without any judgement, but is it really possible to know when using Ableton that this is truly the best end product you could get out of it? I would say no as the possibilities are so wide that you can’t possibly be expected to know the kit inside out in the 6 months before the latest sample pack comes out and the software’s content doubles in size again. When you have a limited range of options you explore them fully and sometimes that can yield fantastic results. I’m not particularly old at 38 but it’s been such a rapid development technology wise since when I came through. The equipment a kid can have now will see him complete a track in hours what would have at the best taken weeks in the 1990’s. We have become a little bit obsessed with having the latest software which we often don’t really need, if you look at Olivier Messiaen, the French composer. He did something completely new with the organ, bringing new light to an instrument that was designed several hundred years before. 


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