Sequential Zero has announced the release of their debut full-length album, “Zero Sum Game”. You can expect darkwave, with lyrics exploring topics ranging from ancient spells and environmental concerns to interpersonal politics and depression.

On the album the four members (Ant Banister, Colin Gallagher, Bruce Nullify (US), and Adrian Leppard) combine dark, nostalgic tones with themes of modern life’s complexities, including environmental destruction and corporate greed, as well as the power of ritual and dark magic.

The album also addresses the impact of online validation, showing how individuals often feel worthless despite external adulation. It further delves into the challenges of finding motivation and creativity amid feelings of hopelessness. The album itself encourages listeners to find enjoyment in life, cherish memories, and seek meaningful relationships.

“Zero Sum Game” is available in digital download, CD digipak, and limited 180-gram silver vinyl formats and is released through Mantravision Productions. Read the review of ‘Zero Sum Game’.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Out on May 17 is the all new Combichrist album “CMBCRST”. The CD edition comes in double-digipak and in addition to the 14 main tracks, it features a full length bonus-CD with 9 exclusive songs. And for the first time ever, Out of Line produces a zoetrope vinyl as well.

A zoetrope vinyl combines the vintage appeal of a traditional record with the optical illusion of a zoetrope, an early animation device. When this special record spins on a turntable, it creates moving images that are visible through specific viewing methods, such as a strobe light or camera shutter. This effect is achieved by printing a series of sequential images along the record’s surface, which, when spun, appear to animate due to the persistence of vision phenomenon. Zoetrope vinyls not only offer a unique listening experience but also add a visual dimension to the music, making them collectible items for enthusiasts of vinyl records and optical illusions alike.

This special vinyl edition contains all 14 main tracks of the new Combichrist new album.

Check out the videoclip for “Planet Doom”. Read the review of ‘Cmbcrst’.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Ronan Harris from VNV Nation was in his former life the very first webmaster of Side-Line. A little known fact, but it was Ronan who gave Side-Line a first online presence, albeit on a different url and not in the format that it is now. It showed his interest in technology, something that has stayed very alive within the VNV Nation master brain over the years. It had been a while since I had spoken with him, time goes quickly, but when I was asked if we were interested in a VNV Nation interview, it was a no-brainer that this was the right time to do it now, at a time when so many things are rapidly changing in the technology field.

I phoned Ronan at his hotel in the US, and talked about the current tour, his musical sidelines, the new VNV Nation album “Electric Sun” and of course how he looks at AI being (ab)used in the music industry.

A funny anecdote, a colleague once told me – referring to the tourist guide industry she worked in – that for her “Listening to Ronan is like using the high quality infoport audioguide instead of some cheap Chinese knock-off.” It took me a bit to understand what she actually said, this is lingo for her sector, not mine, but when I looked up the device I understood her reaction. Quality.

This is just a fraction of a very long talk, but it will give you an idea of the man behind VNV Nation, his skills and his long term vision on innovation and creativity.

SL: I see the moustache is staying there.

RH: Do you want it to go? I have people still coming up to me saying, like, you have a moustache now. What was the last photograph you saw of me? I mean, I must have had hair, because I’ve had this for 13 years now (laughs). It’s just my thing. I like your beard by the way, suits you well… I’m just looking at myself thinking Jesus, I look tired. I mean, we arrived here late last night, so I’m pretty much just out of bed, so you’ll have to excuse me.

SL: You look fine Ronan. Don’t worry. So I guess you are not in Hamburg but still in the US?

RH: Still in the US, we finished up the US, the first leg of the US tour, on Sunday. It’s 11:00 in the morning here and we finished that up and then we’ve got two shows in Mexico, starting this coming weekend. We’ve got a flight and right now we’ve got five days off. Everybody went home. I’ve got five days to work. I’m working with a producer here on some tracks for them. I work with a lot of different producers and different areas, and I do a lot of work under other names because I don’t want it to be connected with VNV. I also don’t want the music that I help people with to be judged, you know, by like people going, ohh what’s the VNV connection? It should be a piece of music in its own right. So I do everything from like orchestral arranging to ambient work to all kinds of crazy processing on the laptop. The laptop I’m using to talk to you now is the one I use in my studio. So I have a whole studio with me. Like tomorrow I’m gonna be working with a guy who does some kind of dark trance, but he’s like a a big name in his own genre and then I will also be working with someone on a synth wave remix. So lots of fun. I’m telling you man.

SL: I have know for a long time you are working with different people, commercial genres or what exactly?

RH: These are really successful artists. I mean, I’ve worked with two people recently who are legendary names. I won’t say who they are. In some cases it’s a real honor because I’m working with people who’ve been an inspiration for me. I don’t see me or what I do anymore as being part of any scene. And if you look at the audience at the concerts, it’s people from so many different backgrounds and so many different styles. They all get something out of it. That’s the people who like dance music. That’s the people who like the more electronic, melodic stuff because it reminds them of other bands. People are like kind of indie electronic, you know? There’s so many different people who get something out of it and listen to it and they hear what they are looking for in it.

SL: Being well-connected is a good thing I’d say.

RH: Correct. The connection of the people I work with is so broad. I mean, here’s really weird example. I’m connected with a lot of people who work for different bands. So when we were going on this tour, I had to ask the crew from Empire of the Sun if they could help me find a bus because there’s a shortage of everything in the United States at the moment. That was the big problem we had with the first shows of the tour. We had to postpone them because there were no buses. No drivers. All the lighting companies had all their main gear rented out. You know, it’s a huge country, so you’ve got to get the logistics of trying to get a light rig from one corner of the country if it’s the only place that has it, and then get it over to Tampa, FL or something. I mean this is the distance of going from, say, Helsinki to Malta. You know, for us in Europe it’s, yeah, the logistics are insane.

SL: Is it still a result from post COVID that everybody is touring or what?

RH: COVID changed so many things. I know a lot of drivers, a lot of people involved in equipment and, you know, all kinds of things to do with touring over the years. A lot of drivers couldn’t work during the the COVID era, they went off to do other jobs. They are happy because they are getting a permanent salary, getting benefits, they were getting things they never had before, so it was a game changer. A lot of people retired and said they were sick of this. They were sick of how they’re being treated and I think a lot of change is still coming, and I hear that from a lot of people I work with that they’re tired of how they were taken for granted in the past. You do this job, that’s it. And a lot more people, I guess are thinking about themselves and how to try to get the best for themselves. So when we started planning the tour in February, we started sending out emails to companies going, hey, we want this, we want this and what can you give us? And we were also trying to find budgets that fit what we’re going to do so we can make this work. And honestly, the first thing I noticed is that a lot of companies increased their prices 30 to 50%. I don’t want this to be a financial conversation, but hey.

SL: Touring the US as a European band which VNV Nation is, is not so simple anyhow.

RH: If you’re coming from Europe and you’re going to the United States to do a tour, you have to rent a bus, You’ve gotta get the crew because there is no way to do it in a van and there’s no way to pull a whole light rig behind you. And I want to put on a show. So I’ve been doing this for a long time. I’ve been doing this for 23 years here, so I know all the aspects needed and this was really the most stressful and the toughest tour organization ever. But it worked out. Unfortunately there’s a lot of people who have become really flaky. Like they commit to you and then the last minute they pull out. You know, I’ve I’ve got another job and they don’t feel there’s anything wrong with that. There’s no commitment or loyalty in some people, so you see how it’s affected everybody. But also this, when you play concerts you realize a lot of people are still getting used to being at concerts again even though America has a COVID surge at the moment.

SL: Masks included?

RH: It’s not like the serious one we were all dealing with, you know, back in 2020. But when we played the West Coast, a lot of people were wearing masks and a lot of people won’t go out. A lot of people won’t go out like this was a really, really big thing. And we heard this from every band. We heard this from the crew who work for like urban culture meets dance meets everything kind of artists in America. There’s these two guys who have this project called Odessa, and we know a lot of the people involved with them, like the lighting engineer and some of the sound people. And then we were talking to metal bands. And they were saying that as well. It’s really crazy, like hearing from fans saying that they they’re afraid to go out. So I think we’re still in a phase where people are learning that it’s OK to go to concerts when they wear masks. It’s not. You know, anybody who reads and wants to spend some time being intelligent knows that. The mask is there to protect others, you know.

SL: Herd immunity is still not an established mentality.

RH: Masks are not a bulletproof vest. I mean, life goes on, the world goes on. And the other thing that we noticed on these shows was when we played the first show in Detroit, that’s where we had to start because that was the 1st place we could get every element we needed for the tour, is that everybody’s out on tour, like all the big bands. They’re all out on tour and taking up all the buses, all the drivers, what’s left and all of the resources. We were talking to lighting companies we’ve worked with for years and they were saying they’ve got nothing we were looking for. They just have some really old lights and I said, well give us something, we’ll put it together, you know. The Detroit show was fine, we talked to a lot of people after the show and everybody just seemed grateful.

SL: At least some joy…

RH: There’s a lot of negativity. It’s not just COVID, it’s the economy here and this perpetual political bullshit that they have to put up with every day. You know, we have a little taste of it in Europe. They’re living it like on levels I’ve never seen. It’s absolutely insane. So I feel for them. But every single concept we played was exactly the same. People were so appreciative that they got to go out and feel this live experience again. So it was quite an eye opening experience.

SL: Talking about working on different projects, did you never work on a musical?

RH: Uh, yeah, I did. Not a ‘musical’ like you’ll imagine. I worked on an arts project with somebody who combined a lot of different elements and wanted to make something really creative. I create the video elements in the background for some other projects too. I’ve had people who wanted video work done where they have a gigantic wall and they want elements playing that are part of that show that become a like scenes within the whole landscape. I’ve done that. I’ve done a lot of sound treatments and created backgrounds, sounds and elements for them, or even pieces of music. So musical? Yes but not the commercial Broadway, you know like “Full Metal Jacket, the musical” or something. These kinds of bullshit things that people put together.

I hate commercial projects. I’ll be honest with you. I mean, still to this day I can’t listen to commercial music, even if it could be a really nice song. There’s always a part of me that thinks this was created to be a hit for a big company that’s purely about shareholders and money. The artist will always be told what to do, in what way. I have a lot of friends who work in Hollywood and they have great artistic ambitions. And then they talk about how their work is then taken, changed by a long line of anonymous people. Or someone else gets credit for it. So I try to work with people who are doing underground things. There’s a lot of people who ask, can I use a piece of music for like for a video or something? And it’s not profit. I’m happy to support small creative people because that’s what I was, you know.

SL: But is that also the aim with the VNV Nation studio you have in Hamburg?

RH: I’ve used it a lot because I have the resources of all the equipment. If you want to talk technologically with two very, very experienced people in trying to recreate that on the system, I can bring it with me around the world, so. We’ve managed to set something up because I’m gonna do work. As I said, tomorrow and the day after I’m working with another guy where I can bring pretty much my studio with me, full audio interface, everything. I can have 10 microphones running, and I can produce, I have everything I need. That’s a real miracle. I’m telling you, man. But when I do a lot of my work, it’s basically when I’m back in Germany and I can do my demos and ideas on the laptop and then take them into the studio and flush them into something bigger.

SL: A couple of years back I was at the Mute event at the Roundhouse in London and during a session with Pole I told him that if you’re really working indie, then the really small bands have no budget for studios. And actually, you hear it, there’s a lot of subpar material being released.

RH: There are a lot of people who want to in a band. Yeah. This is something I noticed when I had to rent a studio space for myself. Now as far as the studio goes, if I’m going to finish an album or if I’m going to create an album, there’s a lot of equipment. It’s gotta go somewhere and it’s not going in my basements because I don’t have a basement. So I’m not gonna fill up a bedroom and annoy my neighbors with this. I have to work in a way that I can be there at four or five in the morning. What I found was when I rented a room in a studio, a commercial studio, and these guys were doing really amazing work, because they were not working with big name artists, but people who wanted music for a project. Really, very, very creative stuff.

But when I met some of the young bands, it’s suddenly clicked that there’s a lot of people who hear a band in this genre, or they go to a club and they say let’s be a band. That’s kind of an exciting fantasy, you know? They’ve got the logo. They’ve got the photos, they got the name of the band and they haven’t got a song yet. They have no idea and they get in there and it’s like we want to sound like this band and they tell a producer like as if you’re saying to someone please help me, I wanna sound like this. It just doesn’t work like that. So I find that a lot of people I meet want to be in a band. I made music. I was writing songs and I really wanted to take this to the next level. And when you say about subpar, I think one of the miracles is that we all have the technology to do whatever we want. With our laptops. With our computers. But that also means that 99.999% have never bothered to learn how any of these tools work. You know, one of the reasons why I did “Matter + Form” in 2005 with a producer, it was because I was gonna get to learn some stuff. By doing every album, I had to learn more about production.

SL: What about your older VNV Nation recordings, how do you look at those now?

RH: I can’t listen sometimes to my older stuff because it was recorded on a budget. I mean, you know, “Empires” and “Futureperfect” were recorded with almost no money. In a very basic studio. I made “Futureperfect” with just the computer. “Empires” or “Praise the Fallen” were recorded in basements with a simple console and the guy knew how it worked, but the quality that was possible with the equipment was, you know, it wasn’t fantastic. But yet today you can listen to let’s say bullshit like EDM, which is just commercial loop crap. Whatever. The production techniques which they use are not like a choice. You have to do it or no one’s gonna listen to it, so. In that sense, the tools are there. People can use them if they want to create something better.

But I’m hearing even within, as you say, like the scene, – I don’t even know what the scene is anymore because it seems to be more fragmented musically than ever – but people really are trying to apply the knowledge of other genres. And this is just basic studio knowledge. And one of the things I did during COVID was that I closed myself in, myself and my partner and I said, look, we’re gonna look after ourselves and our close ones and our loved ones. And we will use it as a time of learning. I listen to a lot of music I would never listen to. And I mean, it really expanded my knowledge of music. But I found all kinds of crazy shit online, and I loved it.

But I spent a lot of time learning better techniques and I wanted to do that because I’ve always had these sounds in my head or these unfinished ideas. Because for one reason or another, I have never felt that I reached it. I can listen to the track “Electric Sun” and think, how did I make this? It was an incredible experience and also during COVID building my own studio with other companies who could not coordinate times because nobody could schedule anything, they all said that their guys were on furlough. The Germans called it quits, and they said we don’t have enough people. So I’m sitting there with just these framework walls thinking what the fuck am I going to do? It was a really long process. But it was also very beneficial. At the time I had about 85 songs, because when you’re working on something else, you get the best ideas. It’s like a part of your brain wants to stay active to fill in for the boredom. I have a synthesizer on my phone and I’m just constantly recording myself playing all these melodies that I’m hearing. I also was using my laptop, even just to write a demo, using the physical keyboard on the laptop as musical keys. 4 songs on the album were originally recorded like that. I was just sitting there playing like OK, this key is this, this key is this. You strip away all of the big technology and you come right down to the sense of it. Is it a good song? Does it work?

SL: I recognized more developed orchestral arrangements this time, I guess the orchestral VNV Nation album left an influence?

RH: Yeah, you can’t hide it, let’s say. I’ve always had orchestral elements in the albums anyhow. There was a cinematic element to that album, a cinematic flavour. I wrote a lot of pieces for it, which never ended up on the album. There were about maybe 27 songs I picked for it. And the worst part is that you come down to a list of, say, 14 or 15 songs. And I said, let’s finish as many as we can, but you’ll always end up writing new tracks while you’re doing an album. I mean, “When is the Future?” happened out of nowhere. One night, I was bored in the studio and I was going through really old tracks and I found a track that I wrote in 2007. It’s just the bass progression and the vocal line. That’s all it is and I pulled it up and had some sounds on the keyboard and just started playing it because it stuck in my head. It was the right moment. You know when you hear it and you think, OK, it’s a simple chord progression, but it works. “All our sins” for instance is astonishingly orchestral. Even if you’re playing synthesizer sounds, you’re approaching them to create an orchestral feeling. So it was quite cinematic. Even the arpeggios and the way I was doing the arpeggios on “When it’s the Future?” are based on a piece of classical music I like.

I work with four different arrangers and they can actually tell there’s more an orchestral approach in my music than what they’re used to with other artists. With other albums it was the same. I mean with “Of Faith, Power and Glory” there were still huge amounts of orchestral elements in there. It’s what you assumed to be orchestral, because you can do a track like something more experimental and you’re still channelling something you heard from Stockhausen or Stravinsky and nobody understands that. Or you’re taking a little element of a composer no one’s heard of in the the average everyday world. But then that’s just one element of my influences.

But on “Electric Sun”, I wanted the opening to be like the opening to a film and I originally had a whole orchestration piece for the opening of the album that I just took out. “Electric Sun” does the job because in the end I want the album to tell a story from beginning to end. That’s what I was asking people to do, to listen to it from start to finish. It was the opening of a film for me, and the ending of the album was the finale, the last credits appearing on the screen. Everything in between is the elements of the story that I imagined. I felt this time round that in the studio I had all the things, all the tools I needed, the atmosphere. Also, a studio shuts out the outside world.

So it’s just you, the walls, synthesizers you bring in to used. I went crazy with analogue synthesizers I have. I’m kind of like an obsessive, I’ve been collecting synthesizers since I first got a chance to buy one. I still have two synthesizers that I owned in the 80s. I’ve had them repaired numerous times because they’ve been overused. Synthesizers are used on all the old albums. They’re still there on every album. There were always about four or five analogue synthesizers being used for most of the sounds on the album. So this time I really went crazy on it. I wanted this vibe. It’s really hard to explain to somebody when you use a plugin what the difference is. And the difference is that when you put all the elements together, you will hear this great kind of feeling. The opposite argument to that is that there are some amazing albums that have been recorded by bands – that we have a great sentimental attachment to – that used a four track.

SL: The one doesn’t exclude the other, right?

RH: Of course. And the thing is now with all this technology, you’re listening to copy paste bullshit. It’s like, look, do you have an idea? Focus on your idea, then build around that. Try to do the best you can because you’ll hear the idea through it. But if it’s just an ensemble of random sounds for 30 seconds of pleasure in a club to make everyone think, ohh, this is a bit ‘oonzee’, it’s not achieving much. It’s throw-away and that’s a kind of like a sad factor for the iPad generation who grew up playing with simple things at home and it was just push a button, make a sound and they didn’t learn more than that. I can’t say if I need the whole studio or not. One of my idols is a mixer called Andrew Scheps. His philosophy and his approach to mixing… I just love hearing him talk because he talks about so many aspects of of the audio world.

He’s an icon and he has mixed some of the biggest albums of all time and he says he’s in the box now, meaning he just uses a computer. And he has many videos where he talks about it because there will be people who just want that connection with the old world and they think it sounds better or whatever. And he said it doesn’t. It doesn’t. It doesn’t. If you know, how to use the tool so you can make it sound how you want. But if you need the tools, if you need the physical things, then if that’s what gets you the results, then that’s the right tool for you. My idea was, OK, do you have a mouse? You have one finger. That’s it. So you have all of this equipment and you’re gonna use one finger to write an album? Are you kidding me? That’s like the joke I always make, it’s like painting the hallway of a house, but doing it from outside the front door and you’re painting through the letterbox.

SL: We’ve become so normalized to this I guess…

RH: When you’re doing these big constructions and you’ve got all this software and all these plugins, you have to have better controllers and things like that. I was sitting with some of the synthesisers and just playing with controls and just creating, it got me places that I never have been. I forgot in a lot of ways what that felt like. Yeah, I mean, I’ve always seen synthesizers on the albums, but this time I had a lot of new gear because of building a new studio and I wanted to have this connection. I know the guys who work for Sequential Circuits, you know, in San Francisco. One of them was a guy who booked our first concert in San Francisco. We were talking about new synthesizers and he said ohh, we have a great new one. When I did for example, the album “Praise the Fallen” I used this old sequential synthesizer on every track. I mean, I had only had a few synthesizers, so I had to make them work for me on every single song.

So I got this new synthesizer, which is like the third generation of that thing. It’s the brand new one, wonderful, does everything. And I said to my partner, like, I’m just gonna plug it in and I’m just gonna listen to some of the sounds, get my headphones on. I’ll be in bed in 1/2 an hour. You know, that was 11:00 at night, 5:00 in the morning I went to bed. I just fell in love. There’s something that connects you with this technology. The sounds, the way you control things, the way you play with it. You can control everything and play with the sounds. It’s the person and a machine. So I programmed about three banks of sounds for the thing, and I’m just having the best fun. And that’s what became like a lot of the basis, a lot of the background to a lot of sounds on the album. This organic sound gave everything a kind of a 70s vibe. There are so many incredible electronic artists from the 70s. I went back and started listening to NEU! again. I love a lot of old krautrock. There’s so many eras that we forget about. They’re so relevant that you can listen to them today and think, why am I not listening to this?

SL: I know you’ve always been quite interested in everything that is new technologically, whether it is for social media or whatever. You’ve always been interested. Now, professionally I work a lot with AI.

RH: You know my old job, so you know that I’m heavily involved into all this new tech.

SL: That’s why I’m asking. What is commercially available now doesn’t impress me compared to what I’ve seen in laboratories where they experiment with AI as far as music goes. That really does impress me. So I wonder, would it ever come up into your mind first of all to create an AI generated album using the laboratory stuff? Do you see anything that you would use as a musician? And would you ever consider using it for vocals as well?

RH: Here’s my problem with with generated music right now, we’ll start using it like people used mp3.com. I’ll give you just that as a simple example. People loaded it with shit. There was no way to listen to most of it. We’re gonna have exactly the same problem with AI because it’s going to be companies trying to sell you tools that say ‘hey look make your own track’. And I work with a lot of producers, there’s guys in the building where my studio is, and they all wwork ith loops. It’s cut and paste. Someone else is making loops for them. They don’t know who, but they’re just using the same loops everyone else is using. I think that’s boring. One of two things will happen. There will either be a backlash where you’ll have people posting on their album ‘This was made by humans completely organically’.

The possibilities of laboratory AI where it can sing. Yeah, we use tools right now. We use Photoshop and we use tuning, we use like ways to compress the vocals and EQ. We’re using tools as it is. It’s where the line is. I don’t want fake. I mean if somebody can use it when they are a Picasso and where they describe to a computer this wonderful creativity, then you’re using it as a tool, then I’m OK with it. But if someone is basically learning a computer ‘just write me a hit song’ then you’re David Guetta, you know that that doesn’t interest me at all.

I’ve had people offering me so many AI tools or generators. I don’t need core generators. For instance, the band had so much problems even just practicing the track “Invictus” on the album, because they said it’s incredibly complicated. I’m working with people who are really, really good, very professional keyboarders. I think I could do a lot myself, but what I would like to be able to do is to say, can you save me a lot of the grunt work that I don’t want to do so I can just focus on the ideas. That’s where it is gonna matter. I want my own ideas to be the forefront. You and I both know that all technology will be used by people to make bullshit. When the Apple iPhone came out, do you know how many fart apps there were? You know that’s how humans use it. They are stupid, puerile, childish. It’s funny for about 5 seconds and then after that it’s done.

For more on VNV Nation, see Porta Nigra Festival 2024: Front 242, VNV Nation, Kosheen, … on Side-Line.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

(Photo by VNV Nation) For those who have been off the grid for the past few weeks, here’s an update from the VNV Nation front. The next VNV Nation studio album, “Electric sun”, will be released in early 2023. Writing and pre-production began in 2021 and the album will be completed over the coming months at the brand new VNV studio in Hamburg. Ronan Harris describes the material as “a symphony of melodies and beats, orchestrating its sound to a level that listeners to VNV Nation haven’t yet experienced.”

This will be the band’s 11th studio album and the follow-up to their previous studio album “Noire” which was released on 12 October 2018.

The Electric Sun Tour will begin in late February 2023.

The band’s regular photographer, Franz Schepers, already posted a brand new promotional picture which you can see below. Do also check out this VNV Nation interview.

New studio, new equipment and software

The band has also configured a brand new studio, upgrading its equipment and software. Some of the biggest inspirations for this album have come from this new equipment and software so Ronan says: “The day the Sequential Pro 3 arrived, I wanted to check it out quickly, while I had a half-hour to spare, but ended up creating sounds and writing melodies for 4 hours. The same thing happened when the Majella Implexus arrived. I’ve a lifelong love for many key analog synths but, playing with these resulted in some of the best synth-fun that i’ve had in years. That is, until the Novation Peak showed up. I got so lost playing it, I should’ve been reported missing.”

The VNV studio is now housed in a building with multiple studios, a workshop, storage for studio-equipment, a place to keep the live-gear between shows, and “a prime spot for the mandatory espresso machine and space to chill out between production sessions”, Ronan explains.

The location now houses 2 studios with the second studio (aka the “Tron room”) being for people to work in parallel on productions or mixing, recording additional vocals and live instruments, recording interviews and general videos.

Ronan explains more about the new studio and gear on the VNV Nation website. Read the review of ‘Electric Sun’.

Side-Line also covered VNV Nation’s ‘Before the Rain’.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo via Sequential) This news got in our spam folder unfortunately, but the synthesizer company Sequential has informed that Dave Smith, its founder, has died at the age of 72 on May 31st. The news was announced on June 2nd. The Sequential website posted this: “We’re heartbroken, but take some small solace in knowing he was on the road doing what he loved best in the company of family, friends, and artists.”

Until his death he was collaborating with fellow engineer Tom Oberheim on a brand-new synth, the Oberheim OB-X8. The collaboration was to be the second between the two synthesis pioneers, after 2016’s OB-6.

Smith, who had degrees in both Computer Science and Electronic Engineering from UC Berkeley, founded Sequential Circuits in 1974. In 1977 he designed the Prophet 5, the world’s first microprocessor-based musical instrument and also the first programmable polyphonic synth. Sequential went on to become one of the most successful music synthesizer manufacturers of the time.

The father of MIDI

In 1981 Smith set out to create a standard protocol for communication between electronic musical instruments from different manufacturers worldwide. He presented a paper outlining the idea of a Universal Synthesizer Interface (USI) to the Audio Engineering Society (AES) in 1981 after meetings with Tom Oberheim and Roland founder Ikutaro Kakehashi. The new standard was introduced as “Musical Instrument Digital Interface” (MIDI) at the Winter NAMM Show in 1983, when a Sequential Circuits Prophet-600 was successfully connected to a Roland Jupiter-6.

After Sequential, Smith was President of DSD, Inc, a Research and Development Division of Yamaha, where he worked on physical modeling synthesis and software synthesizer concepts. In May 1989 he started the Korg R&D group in California, which went on to produce the Wavestation synthesizer and other technology.

Smith went on to serve as president at Seer Systems and developed the world’s first software based synthesizer running on a PC. This synth, commissioned by Intel, was demonstrated by Andy Grove in a Comdex keynote speech in 1994. The second generation of this software synthesizer sold over 10 million copies, as a result of being licensed to Creative Labs in 1996.

In 2002, Smith launched Dave Smith Instruments, a manufacturer of electronic musical instruments.

Here’s an interview with Smith on MIDI.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

“Transformation” is X Marks The Pedwalk tenth full length album and for sure a milestone in André Schmechta’s aka Sevren Ni-Arb’s career. Five albums were released before the band’s break while “Transformation” is the fifth new opus since the band’s come back in 2009/2010. “Transformation” has been introduced as an album dealing about ‘moments of personal change’. Just as on the previous work “Secrets” Estefania (André’s wife) is the lead singer. Sound-wise X MARKS THE PEDWALK remains driven by Electro-Pop structures, which have been reinforced by some EBM bass lines.

(Courtesy by Inferno Sound Diaries)

Q: Three years ago now after the “Secrets”-album you said it was ‘the most mature and professional release of X MARKS THE PEDWALK in any aspect so far’. I think “Transformation” even moves a step further! How do you perceive this new work and how did it saw the daylight?

André: We are proud to have mastered this section of our musical journey as well. We are very, very happy with the result and the feedback. The first song ideas for “Transformation” came up in 2018. But due to my professional situation as an entrepreneur, I can only spend available time in music production. Since I also have a private life, it is really limited. In times of Corona, we also spent more time at home. We had actually booked a lot of events and short trips with our sons. And a vacation was already planned. All that fell into the water now. So I decided to push the production on the album. As a result, “Transformation” was completed three months earlier than originally planned.

Q: I think to remember you were seriously improving your studio, buying new equipment and analogue gear to compose the “Secrets”-album. How does the studio looks like today and what’s the impact of new –and eventually analogue equipment, on the song writing?

André: As with “Secrets”, 90% of the songs on “Transformation” are produced with hardware / analog equipment. It is a more physical approach on producing Electronic music.

The list of instruments in my studio is long: Modular system with modules from i.a. mutable instruments, Make Noise, Dreadbox, Waldorf, Doepfer, Pico, Zaoc. Synths: Sequential OB-6, Sequential PRO-2, Vermona PERfourMER MKII, Moog SUB 37, Arturia Matrixbrute, Arturial Minibrute 2s, Novation Peak, Novation Basstation II, some Behringer synths such as B. Deepmind12, Pro1, KS2, Neutron, NordLead A1r, Korg Prologue 16, Arturia Drumbrute, Vermona Lancet, Elektron Analog Heat etc. In addition, there are of course various digital tools and plug-ins in my production environment. I love both worlds digital and analog and I basically love to explore new gear. Any new gear is a new trigger for creativity.

Q: “Transformation” seems to deal about moments of personal change, which I think is an interesting subject considering our world is actually changing as well. Can you give us more details about the subject/concept and do you see a parallel with the current world situation?

André: “Transformation“ deals with inner barriers. It’s about ourselves. It’s about people and behaviors that restrict us emotionally, from which we want to free ourselves. But it deals also with the knowledge that I can bring about changes myself. Often we accept our weaknesses, as if it were irreversible. But recognizing our own weaknesses enables us to transform them into new energy, which is an important aspect of change. But I don´t want to see a parallel with the current situation.

Q: “Transformation” sounds to me as an album featuring several potential hits, but you seem to no longer release EP’s/Singles. That’s an interesting aspect as I hear more and more people active in the music business affirming that singles are more interesting than albums today. What’s your opinion about it and how do you expect things evolving?

André: Producing and releasing a single means to focus on one track only. That´s ok, but I prefer to work on conceptual ideas for a complete album. Nine or more songs are telling a bigger story and I can take the listener on a longer  emotional journey. It is always an exciting challenge to bring all songs of an album into an overall context, to coordinate and integrate the dramaturgy.

Q: “Secrets” also was the first album released by your own label Meshwork Music. How do you look back at this experience so far and do you have an idea about the impact the Covid-19 pandemic will have on the music industry and especially small labels?

André: My own label gives me all the freedom I need. I’m glad I don’t have to make a living from music anymore. Today I am an entrepreneur with two companies that are active in the field of digital communication and marketing. I have a lot of employees and of course the responsibility is immense. Fortunately, my companies have not been in any distress from Covid-19. Things are very different with artists and many small businesses in the music industry. It is not yet certain when normality will return. Is it going to be as diverse and agile in the field of music as it was before Covid? That remains to be seen.

Q: You last year came up with this interesting, but challenging concept “Music.For.Books” releasing three Soundtrack-driven releases for books. What have been the reactions to this concept and tell us a bit more about the achievement of the music?

André: Today there are four volumes and I hope to release volume five in the next year. Of course, “Music.For.Books” is different from producing an Electro-Pop album. When composing, mixing and arranging the tracks, it was important to consider that the music should primarily accompany the reader and create a suitable soundscape. Nevertheless, there should be a certain dramaturgy that tries to take up different scenes atmospherically.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

(Interview by János Janurik – Photo by Phil Sharp) Erasure is going to release their 18^th studio album, ‘The Neon’ on 21st August. Their first single has already made it clear for the fans that Vince Clarke and Andy Bell are still world champions and hit guarantors in the synth-pop genre. Let’s forget about the Corona crisis and the shadow-side of life for a while now, let’s turn on the NEON lights and let our hearts and souls warm up in their lights! The boys are back in town! Vince and Andy joined Janos Janurik / our co-editor for an exclusive interview.  Enjoy reading!

JJ: It’s been more than 3 years since our last online interview. On the one hand, nothing has changed – and I am referring to international politics here; on the other hand, we have to face all the harshness of this Corona pandemic. One might think that the follow-up of ‘World Be Gone’ (2017) would be an even gloomier record. However, even after the first single (‘Hey Now (Think I Got a Feeling)’) we knew that the new sound would be something ‘optimistic, more upfront’ – as you described it yourself. I also think that this is exactly what the fans – their ears, souls, hearts and minds – currently need to enjoy a bit of the beautiful side of life with the help of your music. The album will be released at the end of the summer, but still gives the listener the impression of a little bit of sunshine. Have you appointed this release date in order to help the fans go through these difficult times? Could you please tell me some words about the “Neon” online album launch party?

Vince Clarke: The release date was chosen by the record company. It was put on hold for a while but then they thought, despite the lockdown, that the fans would appreciate some new music. It’ll be an opportunity to chat about the new record, answer some fan question and talk to some of the people from Mute, involved in the “Neon” process (and drink beer).

JJ: Let’s stay with this first single release topic. Although the song was written before the Corona era its lyrics could not even be intentionally more up-to-date. ‘Walk through the city singing Hallelujah, wish for a lover’s touch’, ‘Head for the city feeling kind of lonely, I gotta play the part’. Andy, you also mentioned on your online video chat on the 1^st of May that you were living far away from your spouse at that time. In another interview you also mentioned that you could also interpret the song “Nerves Of Steel” – which will be the second single and will surely become an absolute fan favourite – in a way that you can do anything and survive alongside a beloved partner. How has the pandemic affected your private life? I suppose these times have also taken on your ‘nerves of steel’. How can you protect yourself emotionally as a highly sensitive artist right now?

Andy Bell: I think for Vince & I it was very fortuitous that we got the album mixed & the photos just right before the pandemic broke. Of course it is very sad & frustrating to be away from your partner especially when you could do with some help, but really he was a great inspiration in all honesty when I was writing the lyrics in Atlanta. I have never lived on my on ever since leaving my childhood home so this is a very good exercise in independence & it proves that I can look after myself though I prefer to be with someone. London has been a completely different place without all the cars & people it is slowly coming back to life but I prefer it to be quiet.

JJ: Vince, in that sense, you’re in a better position to have your wife and son right next to you. And if you want to experiment with your synthesizers alone you just go to your basement where you have your own home-studio. On the new album you grabbed more for classical analogue stuff that added more warmth and 80s’ flair to the new songs. I really like those space-like instrument parts in songs like “No Point In Tripping”, “Shot A Satellite”, “Diamond Lies” or “Careful What I Try To Do”. For me, this is one of the true essences of Erasure’s music, why I’ve been your fan for over 3 decades now. They guarantee goose-bumps and make the fans of the classic analogue synth sounds happy. What can you tell us about the development phase of the musical basis of the new songs? Was it a pure coincidence that you just picked these synths (like Sequential Circuits Pro-One and Moog) out of your huge collection? Is there a favourite synthesizer the sound of which you like best? 

VC: I never have a really clear idea of how the songs should sound in the beginning. My process has always been about experimentation. I do have my favorite synths but I try and incorporate as many different machines as possible. It’s more interesting for me and hopefully results in less predictable sound.

JJ: The new album is full of potential hits. The fans already know the pre-released single “Hey Now (Think I Got A Feeling)” and the song “Shot A Satellite”, released as an appetizer but there are several more that are sure to become fan favourites. Let’s think of the beautiful mid-tempo song “Nerves Of Steel” or of “Fallen Angel”, which is an energetic up-tempo song and immediately lures you to sing along. Another absolute favourite of mine is the synth-disco-anthem “No Point In Trippin”. “Diamond Lies” with its catchy oriental motifs is also a highlight of the album. Radio stations should play these songs in heavy rotation. Do you already have personal favourite hits from the new album? Which song is going to be the next (third) single?

VC: My personal favorite is “New Horizons”, cos I’m an old romantic at heart.

AB: My favorite is “Nerves of Steel” I just keep playing it over & over again it’s sounds like electro rock to me & I can`t wait to perform it live hopefully next year. It is a song about the grit & determination that it requires for a relationship to last. It is a celebration of world lovers no matter in which form. The last single will be “Fallen Angel” which is a roller coaster ride of emotions.

JJ: What I am also very happy about is that after a long time we finally have an Erasure ballad with piano underpainting again. “New Horizons” is definitely one of the most beautiful Erasure songs ever released. The music, Andy’s voice and the lyrics – everything fits perfectly! The song caresses the soul and gives new hope. Do you believe in the healing power of music? Which song touched you emotionally for the last time?

VC: For me, music has always been a comfort. I think that’s especially true right now. I’m not sure music is a healer but it certainly gives us hope. “Life In A Northern Town” is my current favorite comfort song.

JJ: The end track “Kid You’re Not Alone” also goes straight to the heart and brings the album to a nice conclusion. It reminds me of such crowning album closing tracks as “Because You’re So Sweet” or “I Bet You’re Mad At Me”. I am sure that fans will choose the brilliant ‘Neon’ album – which is colourful, warm and brings light to the world, just like its title – as their favourite. The only thing missing is a tour to have the work well done celebrated together. And then we, ‘kids’ will ‘not (be) alone’. I know that it is very difficult to plan live appearances at the moment, but is there a chance to see you at least on the Internet until live shows are considered safe?

VC: There might be a couple of small events happening soon but there are no plans for a full concert, especially because Andy and I are 3000 miles apart.

JJ: Please tell us a few words about the successful artwork which beautifully completes the musical content. Fans who have pre-ordered the special edition are sure going to be happy about the coloured NEON design.

VC: The artwork was inspired by a photo shoot we did at “Gods Own Junkyard”. A museum dedicated to the history of Neon.

JJ: In addition to Erasure, you also have your side projects such as Andy’s Torsten trilogy or Vince’s new discoveries on his VeryRecords label. Not to mention his radio program about the magical world of synthesizer music with Reed Hays. What releases are still to be expected from you until we can see you on tour again? Andy recently put an interesting playlist of his favourite mute songs together. I’ve also heard rumours about Vince’s possible collaboration with Neil Arthur of Blancmange. What does your musical life look like outside of Erasure?

VC: There is a new Alka album coming out soon on VeryRecords. The Neil Arthur collaboration is on going. It’s nearly finished but at the moment there is no release date.

JJ: Erasure are not only in the studio but also on stage in top form. As I mentioned before, these times are not necessarily favourable for tours. But Andy spoke in a radio talk in May about a possible US tour starting next March and about further UK/EU concerts in the autumn of 2021. Are you looking forward to meeting the fans? What would your message be to your fan community?

VC & AB: We are both really looking forward to begin a tour next year and properly showcase the new album. “Hang on in there” would be our message to the fans.

The new Erasure album can be (pre) ordered at Mute.

Erasure – “The Neon” tracklisting

1. Hey Now (Think I Got A Feeling) 
2. Nerves Of Steel
3. Fallen Angel
4. No Point In Tripping
5. Shot A Satellite
6. Tower Of Love
7. Diamond Lies
8. New Horizons
9. Careful What I Try To Do
10. Kid You’re Not Alone

Editor’s Note: I’m giving this album a 5 star rating.

© JJANURIK

János Janurik

I began my career in online music journalism in 2001, writing about artists I had followed since the late ’80s and early ’90s, including Depeche Mode, Erasure and The Cure. I later edited the Hungarian Mute microsite for EMI Music Hungary. This led to interviews with Erasure, Nitzer Ebb and Alan Wilder, and some of those collaborations developed into lasting friendships. Since 2014, I have been part of the editorial team of depechemode.de. I also contribute interviews to Reflections of Darkness, Peek-A-Boo Magazine and Kaput Mag. I maintain a close connection to Mute Records artists and have also supported releases on Very Records. I am proud to collaborate with Side-Line Magazine, where I regularly publish interviews and features.

Read the review of ‘Trashy Luxury’.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

Genre/Influences: Electro-pop.

Background/Info: After the promising debut album “Uncaged” (2015) Danish duo Claus Larsen (Leaether Strip, Klutae, Sequential Access)  and John Mirland (Mirland, Holm/Mirland) strike back with this 12” vinyl with 4 new songs. The work of Am Tierpark is clearly inspired by good-old electro-pop music.

Content: Next to a solid electro-pop basis the work of Am Tierpark sounds a bit minimal-like. It’s not the usual synth-pop music although it’s inspired by vintage sounds. Carried by dark and solid bass lines and somewhat evasive atmospheres you’ll also notice cool sound treatments, which sometimes vaguely remind me of Kraftwerk.

The title song and “I Can’t Stop” both reveal great choruses, which you’ll easily keep in mind. The title song is for sure a great piece of music and definitely the best Am Tierpark so far.

+ + + : I already mentioned “Cherry Blossom”, which has this little touch of magic transforming a song into a hit. This song also reveals the essence of the Am Tierpark sound, which is rather simple, but composed with great sound sculptures and the charismatic vocals of Claus Larsen. “I Can’t Stop” is a bit comparable in sound formula, but sounds ‘happier’. I here especially like the little space bleeps.

– – – : There’s just one single piece that can’t convince me on this 12”. “The Hunt” is what I would call the only B-side song of the EP. It’s not that bad, but this song is missing a climax.

Conclusion: There definitely is chemistry between Claus Larsen and John Mirland. They both are passionate musicians inspired by the 80s electro-pop, which they’ve adapted into thier very own and minimal contemporary and refreshing style.

Best songs: “Cherry Blossom”, “I Can’t Stop”.

Rate: (7½).

Band: www.facebook.com/amtierparkofficial

Label: www.distortionprod.com / www.facebook.com/distortionproductions

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

In 1980 Portion Control, one of the biggest and most underground and influential electropunk/industrial/EBM acts of the UK was formed in South-London. Founding member John Whybrew (also known from the side-project Solar Enemy) explained to us which gear the band used and abused to create their typical sound!

SL: How long ago did you buy your first keyboard ever? Which technology did it use (MIDI, 3.5″ floppy disks,…) and do you still own it?

JW: First ever synthesizer was an ARP Axxe from Chase Musicians in Charlton Street North London. It was a huge amount of money, monophonic or maybe duophonic and came with a pad of A4 patch sheets you had to use to mark all the knob and slider positions. The first thing I did was get the patch sheets photocopied so I wouldn’t run out. The manual came with schematic diagrams and sample patches. To set-up a patch would take maybe 3 minutes, and of course with no memory absolutely nothing was saved. However the actual sound-quality was very good and in some respects comparable to today – which is pretty remarkable. We also had an Apple II computer based Greengate DS:3 sampling and sequencing system, allowing us utilise sampling at its infancy, albeit with mixed results. We knew at the time that we stood on the threshold of an important time of technology. The Greengate DS:3 couldn’t map across keys and had a tiny memory although basic samples could be saved to disk. The sequencing part was a bit like a primitive tracker and without mathematic degrees we struggled … but it was great to use a basic sampler and record the results to tape. The Akai S900 then Akai S950 and finally the Akai S1000 HD replaced the Greengate DS:3 as sampling had become so important to our progression.

SL: Which computer(s) and software do you currently use in your (home)studio?

JW: We have always used Atari computers followed by pc’s for our audio making (apart from the Apple II, running Greengate DS:3). Focusrite Saffire PRO 24 was a big favourite in the early days. Now we use Bitwig Studio and Presonus Studio One 3 as well as Ableton occasionally. We always buy high-end quiet pc’s to make sure all our playback is glitch free.

SL: Can you describe all synth gear and hardware you use nowadays? Which piece is the most valuable for you?

JW: Since 2004 we have only used software. Soft synths we favour are: Reaktor 5, Serum 64, FM8, Cakewalk Z3TA+2, Spectrasonics Omnisphere 2, Spectrasonics Trillian and Vengeance Producer Suite Phalanx (sampling duties). Effects include everything by Audio Damage and D16, Omnicide, RP Distort and Guitar Rig 5. The computer sound module is currently Focusrite Scarlett 6i6 with Genelec monitors and a Novation 25SL MKII MIDI controller pretty simple set-up, but allows for deep sound design.

SL: When performing live, which keyboards and software do you use on stage?

JW: We cannot play keyboards so sequence our music live, feeding individual channels to a Zoom R16 digital mixing desk. This way we can balance a mix to suit the venue. We also use VJ software to trigger short looping video clips for our backdrop projections, which are a very important part of our set-up.

SL: According to your opinion, which are the most legendary synths ever produced?

JW: In the ’80s when we utilised them we loved the Roland TB-303, Roland TR-909 Drumcomputer, Moog Rogue (“I Staggered Mentally”), Roland Juno-6 and most importantly the Roland MC-202 (“Step Forward”). Our early recordings were often in London studios so we would utilise whatever the studio had, which allowed us to experience the Yamaha DX7, Moog Prodigy, Roland Jupiter-8, Sequential Circuits Pro One, Movement drumcomputer, etc.

SL: And which are according to you the biggest synth artists/bands ever?

JW: Throbbing Gristle, Tangerine Dream, Metabolism.

SL: Share with us the worst case scenario that ever happened to you live on stage or in the studio!

JW: Live we used to use a combination of a hard disc multichannel recorder and a laptop to sequence the audio and trigger the video clips. We had a Yamaha AW16 that streamed from a hard drive and if Dean stomped about and the stage was springy I could see the hard drive struggling to keep consistent playback. It skipped a few times over the years but now we use a Zoom 16 track with solid-state memory. It also defaults to battery power if the mains trips. Our laptops are also solid-state now and don’t rely solely on power. Given the very variable situations we often find ourselves in need to be prepared.

SL: The unavoidable question: do you prefer analog or digital synths more? And what’s your opinion about the virtual analog concept?

JW: Analog emulations, although we use FM synthesis and pure digital as well. A good cold digital bass line with analogue emulated drums are perfect! What’s the point of struggling with older analogue synths that cannot save patches, drift out of pitch and have no sync options? No fun in our opinion. When we bought our Wellcome in 2004 we had e-mails from people refusing to believe it was created purely with plug-in synths. That was in 2004, look at todays soft synths, such as UK FXpansions Strobe2 and Xfers Wavetable Synth Serum – these are simply amazing and packed with features such as appegiators, sequencers and multiple effects … and cost a fraction of the price of hardware.

SL: Isn’t the digital technology evolving too quick and becoming too complicated for artists nowadays?

JW: Not evolving too quickly, just presenting too many sounds/options and possibilities. Nowadays you have to be a sound designer, musician, engineer, producer and tea boy.

SL: How will the future of creating electronic music look like?

JW: This is hard to say. Almost all non-guitar music is electronic. I’m not sure a pure electronic band has a stance now? Apart from Kraftwerk who produce what we conceive as futuristic electronic music, although this appears retro now …? It’s a bit like Blade Runner – time has overtaken many aspects of the film. Is sampling considered electronic music if it conveys analogue instruments? I honestly don’t think anyone cares if a band’s ‘electronic’ or even quite what this means … Currently there seems to be a move away from the some what sterile programming of music using a mouse and keyboard. Interfaces such as machine and countless launchpads are being released … for pc these aren’t interesting, they are another box to rig up and imply you can input via rhythmic programming, we aren’t musicians so for us the mouse is still the best tool.