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tried to use as much as of the stuff I used to make the songs and manipulate those things live where possible.

I saw that last summer you were featured in Vevo’s Summer Six - what was it like being followed by a camera crew? Actually, we did the footage by ourselves. It was really cool because I started working with a guy called Tai Chi; he’s done a lot of my video stuff. It kind of worked really well; he’s someone who I really rate. We’re actually working on a mini documentary about the live show, to show people the technical side of it. I wanted to show people the setup, because I think a lot of people assume with dance music live shows, you’re just pressing play and not really doing anything. So I wanted to show people the technical side of it in more depth, basically for those people who are interested.

With new album, ‘Torus’, recently coming out, I noticed that in the build up to its release, you were doing a treasure hunt to find ‘hidden discs’ on your website. Was that your idea to do that? It was an idea that I came up with, in conjunction with a guy from my label. He originally came across this guy who was an amazing 3D web designer and we hit upon the idea of doing an online version of what my artwork looks like, having these disks in different landscapes. Tat sort of developed into; ‘why don’t we hide all the different tracks on the album in a different place on the globe’. I really like the concept, from an artist’s perspective, sometimes you get suggestions from people about online things, that I find a bit gimmicky or that don’t really make sense, or they’re tech for tech’s sake. But this was wicked because I feel like it adds almost another dimension behind the concept of the album.

On this new album, you worked with Alex Clare, Alpines, MNEK, Kele and others - how did those collaborations come about? Tere’s lots of different ways, some of them are people who I wanted to work with for a long time. People like Kele I got in touch with because he was someone I’ve always wanted to work with. Most of those people are people I like and got in for sessions and we jammed. MNEK was really cool, we just

had an afternoon where we just jammed on this house idea and that came out really nice. Foxes was great; I had this idea that I thought really suited her voice and she came up with some brilliant ideas too. Tere’s so many different ways that you end up writing, sometimes the songs evolve in quite weird different ways.

It’s been almost a decade since you released ‘Down Te Drain’ in 2003, has the way you make music changed at all? Yeah quite a lot: when I started off releasing those early tunes, I was making a lot of my songs from samples. Now, I create a lot of my sounds from scratch. I’ve become a lot better producer I think. I was releasing very underground club music, then decided that I wanted to do more, then really diversified with my first album in 2009, started to put out a much bigger mixture of genres. Tat’s what I’ve tried to do ever since, just make lots of different dance music to a high standard.

We’ve got these instruments I had custom made - they’re motion sensors, so when I move my hand around in the air above them, it controls different sounds.

You’ve been classed as an EDM artist, what do you make of the term? I don’t love the term, but there’s nothing wrong with it I guess. I think it’s got an association with a certain type of dance music that’s not my favourite style. But it’s just another way of referring to what is just another tag for dance music. I’m really enjoying what’s happening in the States, just the scale of the events there are mad, this EDC festival I played this summer, the main stage just had this enormous, animatronic owl centre piece. It’s funny the mad amounts of effort and money that people put into production.

My final question is, what’s your fascination with circles, they feature on your album artwork, your live show and now also on your website? I just wanted to start working with simple shapes; I’m a big fan of people with strong and iconic looking branding in dance music. I’m really into the art and design side of things, so I spent some time thinking about the concepts and

Tis album once again brings together different genres such as: dubstep, house, drum and bass, electro. Do you find it's good not to be pigeon-holed to one genre? It’s funny, I think that coming from drum and bass made me want to break out of it more in a way. I think especially in the early noughties when I first started putting out tunes, it was almost strange if you were drum and bass producer and you put out a house tune. It’s kind of made me want to rebel more I guess, and just write whatever I feel.

all that side of it. We put the shape on the cover of my first record, then we moved it into three dimensions with this record. I like the way they’re kind of monoliths, like in 2001: A Space Odyssey, these unexplained ‘thing’, that appears in these landscapes. It’s supposed to be this huge great unexplained monument that appears there, I like the mystique of it.

Will Nixon

Sub Focus comes to the Nick Rayns LCR at the UEA on October 26th. For tickets, go to Read the uncut version of this interview on /October 2013/ 39

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