Rival Consoles - Galvanic Mutations

On his new album, “Articulation”, the English musician steps away from the computer and programming altogether, in favor of a return to his roots, where images created through various kinds of palettes are transformed into sound. An unexpected inclination, all things considered, for the Leicester-based producer, who's increasingly riding the crest of the wave after scoring music for Black Mirror, contributing to Adult Swim Singles, working with Alexander Whitley, and the experience of performing with 17 musicians from the London Contemporary Orchestra at a sold-out show at Southbank Centre's Queen Elizabeth Hall in London in January 2020.

To compose “Articulation” you stayed away from the computer. Why did you make that choice?

I love the power of exploring ideas with a computer, since it offers endless possibilities, and increasingly fast ones too. However, over the last 10 years that power has all too often taken over my creativity. Finding yourself going down paths where only the computer excels can distract you from simple, ultimately exciting ideas. Working away from the computer is still just a way of refreshing your perspective, though. It's not a recipe for making good music, just a way to refresh your understanding and imagination.

You performed with 17 musicians from the London Contemporary Orchestra at a sold-out show at Southbank Centre's Queen Elizabeth Hall in London. What did that feel like?

It was very exciting and I feel very fortunate. But I was nervous and a bit scared, because my music is far removed from that world, despite my deep connection to strings. It was wonderful to hear the ensemble's rehearsals for the first time, especially while they were performing “Untravel”. I'm proud of that piece. Still, I had a lot of doubts about how it would translate orchestrally, given its artificial nature. Luckily, it worked, and it was moving. Credit goes to the orchestra and its genuinely clever embellishments. I learned a lot from that experience, particularly about paying closer attention to performance.

What are the main differences between “Articulation” and “Persona“? It seems to me the former is closer to “Night Melody”..

“Persona” is a much more emotional, introspective record, with a particular devotion to the mood of the moment. I think “Articulation” has more balance to it, there are far more neutral episodes, and an exploration of sound and structure as color and form. In short, I think it's more delicate in how it approaches a given feeling.

Your music is often filed under the so-called “microhouse” scene. Now, labels aside, do you think it's really fair to talk about house music under a microscope?

I don't really understand most of the labels people apply to my music. Sure, I feel I definitely have influences from techno, post-rock, ambient, trance, etc. But I wouldn't say my sound fits neatly into those genres, because there's a deliberate stripping-back that makes it stand on its own and completely “outside”.

You contributed the exclusive track “Them Is Us” to the popular Adult Swim Singles series and composed original music for “Black Mirror” and for renowned choreographer Alexander Whitley. How did these three experiences come about, and what did they leave you with?

“Them Is Us” is a track I wrote for the series, there's no story behind it. I'm very happy with the result, because I somehow managed to give it pop moments but also a finale that's particular and unusual in its own way. Working on Black Mirror was an honor, a real test that taught me a lot. Honestly, it was the most demanding thing I've ever done, because the narrative was very complex and encompassed an incredible range of feelings and styles. Working with Alexander Whitley was a brilliant experience. We made something we're proud of, and although the pandemic prevented most of his performances, I can't wait for people to see it in 2021. It's an explosion of dance, music and lighting. And I love how bold it is from start to finish.

What advice would you give to younger people getting into the world of electronic music?

I'd say work as much as you can and reflect every month on what you've done, look at what's working and what isn't, and keep asking yourself questions. In other words, build a very precise sensibility. When I was young, for instance, I made the mistake of jumping into projects without really thinking through what I was doing. I'd also say: expect and allow failure to happen constantly, instead of simply trying to make perfectly polished-sounding tracks, because that attitude is, in any case, absolutely boring: you'll learn far more about creativity if you let failure exist in every aspect of your practice. Finally, I'd say be careful not to overcomplicate your music with things that are easy to do on a regular computer, meaning lots of effects, layers, and sound design. It's better to strip things back than to pile them on for free, without any soul.

Who are your musical guiding lights?

They change as I get older, but certainly Aphex Twin, Clark, Radiohead, Steve Reich, Alessandro Cortini, Gustav Mahler, Smashing Pumpkins, Brian Eno, Tool, Lorn and Lorenzo Senni.

I created an opening sequence with just one synth and a single violin string, and it really struck me. For me, the ideal is to let yourself be carried away by simple things, and in this case it happened almost immediately.

What's your favourite instrument and why?

Well, I've made 5 records with the Prophet Rev2-8. It's my joy. And the music always takes shape naturally.

I was a guitarist for many years before I started making electronic music. I didn't think I'd turn towards electronic music. It all happened gradually. But one of the things I'll remember forever is how excited I was to write music with a computer and no longer compose only with guitar or piano. I was suddenly hit by an ocean of sounds that were completely new to my guitarist's mind.

What have you been listening to lately? Any young English producers you'd point us towards?

I'm listening to Lorenzo Senni's record, “Scacco Matto”, and Hainbach's Assertion. I'm not really convinced there's a proper scene in the UK right now, but musically there's always good stuff in every country. Let's say I love fishing around everywhere. 

Do you like Italy? Is there any Italian producer you feel connected to?

Who doesn't love Italy? As I mentioned above, Senni and Cortini have something fantastic going on. Their compositions are very sharp and tasteful. Italy is full of great producers of techno, minimal, even dance music. Many of them move beyond a certain geography, and I like that. Personally, I prefer those who move beyond genre and its current directions. I love those who create a bit of tension within the genre itself.

When will you go back to performing live?

I don't know, but I have a clear idea of what I want from my next live show. I want to show that live electronic music can be a very wide range of different things, almost like a film, a journey. In short, I'd like people to be moved.

(20/09/2020)

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