Archive for January, 2012
With this in mind, we are quite keen to see what they get up to in 2012. And they already seem to be doing a lot…
They have already announced a European Tour showcasing some of the label’s brilliant roster including Balam Acab, oOoOO, and Holy Other.
Playing at Tri Angle’s London showcase is their latest signing, The Haxan Cloak.
We decided to catch up with the man himself and discuss his approach to music….
Bleep: Your work seems to have a very cohesive sound palette and atmosphere, what inspired your project The Haxan Cloak?
The Haxan Cloak: The Haxan Cloak comes from a vast array of influences. I seem to have some inclination toward the darker aspects of society and culture. I think this is a main theme that permeates the music I make.
B: Coming from a sound art background, there seems to be a real physicality to your music, what are your interests in sound, and what experience are you trying to convey to the listener?
THC: My interests in sound are absolutely very textural. I feel much more compelled towards tone than I do toward rhythm. I don’t really consider the role of the listener when I am making music, however, I do often hope, in hindsight, that listeners are able to be as engrossed in the sound as I am.
B: Your works seems to build the bridge between the organic and the synthetic, from live instrument recording to digital manipulation. What role does technology play in your music. Does it enhance or hinder?
THC: Technology doesn’t necessarily enhance or hinder, it merely facilitates. I’m not really a huge ‘gear’ person. I like to have as few implements as possible when it comes to making music. The most difficult part of making music is a clear concept. If you don’t have a strong idea that you believe in, no amount of technology can cover that up.
B: How do you approach transferring your music in to a live environment?
THC: I appreciate that an audience likes to hear familiar material, however, I’m not such a huge of fan of recreating my record faithfully in a live context – you may as well listen to the record at home. I take elements of my recordings and essentially remix them live. In this way, the audience still gets a snippet of something they recognise, but they also get to experience something completely new within this familiar framework.
B: You have just signed to Tri-Angle Records, what other contemporary music do you feel inspired by? Is there anyone out there you would like to collaborate with?
THC: I don’t know if I feel inspired by much contemporary music. Some artists I like, off the top of my head are: Actress, Grouper, Eddy Current Supression Ring, Alexander Tucker, Death Grips, Keith Fullerton Whitman, Theo Parish, Hype WIlliams, Beyonce, Lil’ Wayne…I could go on…
I’d like to write music for Matthew Barney, Bela Tarr or Harmony Korine.
B: What have you developed since your album on Aurora Borealis, what should we expect from your upcoming release?
THC: I’ve developed a stronger sense of who I am as an artist and a clearer vision of how I’d like to develop and challenge myself. The next release will be a continuation of textural themes explored on my previous record. It will be more rhythmically driven than the last and will be very different, however, still undeniably mine. I hope.
The track above ‘Holy Other – Feel Something (The Haxan Cloak Remix)’ is available to buy now exclusively on Bleep.
In 1996 Blue Angel Recordings (later Blue Planet) an imprint of the legendary Rising High label released the Drum ‘N’ Bass for Papa album by Plug AKA Luke Vibert. In early 2011, Luke Vibert told Ninja Tune that he found some long-lost never heard before DATs dated 1995-1998 from his Plug moniker.
Ninja Tune have none done the graceful thing and just recently released a collection of tracks from the same era with the brilliant “Back On Time” album. It’s pretty brilliant so we decided to have a few words with the man about his Plug side…
Bleep: Has re-listening / re-visiting the Plug project influenced your current music making?
Plug: No – it feels like a different person made it…
B: How has your music making process changed from when you first made Drum ‘n’ Bass for Papa?
P: I used hardware then, sequenced by an ancient Atari, and now I just use my laptop, so it’s pretty different…
B: Is the recording process / production process different from your other material under different monikers?
P: No, I just use whatever I have at the time… I can’t make the music of Plug anymore [or I would!] but it was hours of going through samples then hours of putting them together/cutting them up/arranging them etc… I don’t really have that kind of time these days.
B: Who do you listen to these days?
P: Same old shit as always really…Funk, Jazz, Moog music, Easy Listening, Disco – anything interesting. I hardly ever listen to anything new (perhaps cos I spend so much time making it).
B: Can you envisage producing under another moniker in the future?
P: Sure…especially if I start making stuff that doesn’t really sound like anything I’ve done before (which admittedly hasn’t happened for a while now!). Although my usual reason for new monikers was cos I’d signed with a new record label and had to make a new name up!
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