Who were your main
influences when you started, and are they still influencing
your work now?
When I was younger I played around with tape recorders
and radios as a teenager and began recording on early
Sony Walkmans and Teac Reel-to-Reel recorders, creating
tape loops and textures from everyday sounds and treated
guitar. Remember this is long before the Internet and
file sharing was only available in terms of swapping
tapes across the globe in the mail. I was listening
to a lot of experimental music, early industrial music,
church music, warped progressive rock and this fed into
my work. In a sense today I continue these experiments
in sound – the computer replaced the Reel-to-Reel
but I still use it essentially as a way of laying out
sounds across the page.
On your first records, you used phone scanners
a lot. What made you originally decide to work with
these? Was that an alternative to sampling?
I had been recording for some years previously as I
said, and combining tape recorders with short wave radios
to pick up signals from all around when I discovered
the actual Scanner device itself back in the late 1980s
(which is a relatively simple but long range radio receiver)
which provided me not only with the chance to tune in
directly to the language and lives of private individuals
but also the name that I retain today. It offered up
a world of sound that was otherwise unavailable and
yet global and personal at the same time.
Is it still a process that you would use today?
How has the way you work evolved?
Where I was previously focusing on the scanner device
itself, drawing in sound from the ether and in so doing
suggesting a means of mapping the city, where the scanner
provided an anonymous window into reality, cutting and
pasting information to structure an alternative vernacular,
I now also use samplings of locations, of cities, of
voices, accents, radio, television, music, etc... to
offer a new context to a work. Many of my works and
projects explore spaces, memories, voices, etc so continue
the themes.
Most of your early records are not available
to buy anymore. Would you like to get the chance to
re-release them yourself, or do you know if they will
ever be re-released?
I’m not sure about re-issuing old records, they
are always merely postcards of that particular moment
in time, almost like a photograph and I’m never
convinced of their value but if in time there’s
enough desire to re-issue them perhaps I will. Otherwise
making them freely available via my website for download
might be a more practical solution.
The tracks on your first few albums were all
untitled. Was there a particular reason for this?
I was originally interested in the idea of making the
Scanner releases follow the theme of a magazine, so
they would maintain the key name, Scanner, and simply
add figures, 1, 2, 3 to each subsequent edition. By
naming them this would add too much value to each piece
I felt and influence the viewer. Of course over time
I’ve changed my opinion how best this works!
Do you focus on one project at a time, or do
you constantly record and then ‘attribute’
compositions to projects?
I never attribute pieces. I follow an old fashioned
idea of patronage mostly where in the past a King or
Queen would commission a painter for a portrait for
their castle for example, now I follow lines of engagement
with my works. I work towards each project differently
and with a variety of shapes, colours, textures in mind.
Even at present I’m working on around six very
diverse projects, each of which can compliment but not
feed into the other, so demands new work for each focus.
Electronic music has evolved considerably since
late eighties/early nineties. What would you say are
the way it has changed the most?
I agree it’s developed in many different ways.
Access to distribution via the Internet has altered
a perception towards the accessibility of materials,
an independence of sharing ideas that was unimaginable
on this scale some years ago. The availability of creative
tools has meant that many, many more people are able
to create work in a modest budget and location, to alter
and process and extend our language of sound has greatly
developed.
You have often worked with visual artists,
creating music as part of visual installations for art
galleries. Do you see this as a different part of your
work?
I’ve not only collaborated but also created my
own works within the context of contemporary art spaces.
They are merely alternative ways of offering a voice
and an image in sound. I don’t particularly see
them as poles apart. They are about sharing a moment,
an idea, a mood with others in another space. The ideas
can follow from the same place.
What makes you decide to work on a particular
project or work on a commission?
I’ve always made choices simply – if I like
the people, the approach, the situation, the location
I will, given the timescale, commit to it. Commissions
aren’t agreed upon via budgets. If I wished to
be rich I’d have chosen another career, but I’ve
been fortunate in following a very dedicated work ethic
that means I always meet deadlines, never let people
down, always make it important to offer accessibility
to any project for the public.
You have also collaborated with an impressive
number of musicians over the years, including David
Shea, Robert Hampson, DJ Spooky or Carsten Nicolai.
Is the way you work with someone very different than
when you work on your own?
Collaboration is about a shared responsibility within
a space, a creative one and a public one. It’s
about trust and understanding between others and I’m
keen to encourage these concepts. All the arts shared
a sensibility and an approach to ideas and therefore
if you share a sympathy with others around these themes
a collaboration is possible. Each project can take on
a life of its own but if it personally offers me a chance
to extend my practice, to learn something about myself
and others in the process then I will try to engage
with it.
Is there anyone you would like to work with
and haven’t yet had the chance to?
Goodness me, many people, but it would be out of place
to even begin to list people – that include film
directors, choreographers, writers, etc… I still
have a few more years in me yet!!
In 2002, Bip-Hop released a collaboration between
yourself and visual artist Tonne that documented an
interactive performance that originally took place at
the ICA in London. The performance was based around
recordings and films of places of sound interest in
London, which were later on processed to convert pixels
into sound. How did you get to work with Tonne?
We’d met at an event I was producing at the ICA
(Institute of Contemporary Arts) in London, promoting
early shows of Pole and Spring Heel Jack, some years
ago. I immediately responded to his innovative and dynamic
approach to finding a relationship between sound and
image. As often is the case, a conversation followed
and in turn this work. Quite simple really!
How do you approach a project like this compared
to one of your personal records?
It was a situation to develop an idea around a public
space – this time in a gallery in the ICA –
that explored a position between sound and projection.
I’m an ideas based artist and this installation
followed a familiar route, of developing themes and
shapes in how to most effectively present a work in
an alternative location.
You have lived in London for years. Does it
affect your work in any way?
I’m London based but most of my works take place
globally - this month alone has involved visits to Geneva,
Leipzig, Paris, Amsterdam. London offers an amazingly
creative nexus point for culture and friends, with most
theatres, cinema release, bands, art shows passing through
here. It obviously influences the shape and colour of
my work in its speed and energy.
What’s happened to Scannerfunk?
This was a playful approach to producing a more populist
beat-led record that proved successful for its life.
I’ve subsequently played a few shows under this
name in situations that demand it, more dance oriented
public events. I’m still considering the idea
of releasing a second volume in the future. There’s
plenty of material that would contribute towards this.
Last year, you recorded and published Europa
25 at the request of the British Council in Brussel
to celebrate the expansion of Europe. Are you a believer
in a united Europe?
Yes, I am. The project, which is still freely available
digitally and as a CD product for free distribution
through the BC
website in Brussels, felt like a positive step towards
integration and support, particularly to countries that
have lacked the ability to clearly communicate in trade
and other forms with Europe. As an artist most of my
projects are overseas and I'm always attempting to create
positive connections between people and places, almost
as a form of catalyst that sets a spark alight for others
to follow.
Swim~ are just about to release an album by
Githead, which is yourself on guitar, Wire’s Colin
Newman on guitar and vocals, Malka Spigel (bass, vocals)
and Max Franken (drums) from Minimal Compact. This is
very different from your usual work. How do you see
this project compared to your solo work?
I don’t see it any differently apart from the
commitment it desires in terms of recording schedules
and rehearsals, something with the latter I rarely have
to follow. Githead has a strong sense of space around
the songs we develop. This is the first time I’ve
actually directly worked within a song structure though,
clearly following a more rock established shape.
You play the guitar on this album. Is that
how you started getting involved in music?
Ironically the main theme on the opening track on the
Profile album, Alpha, was written
when I was just 16 years old. I play guitar and always
have done, reasonably well, but I began using tape recorders
because they were all I could afford before that rock
and roll purchase.
There is an eighties new wave feel to the music.
Was that deliberate?
Not in the least, perhaps it’s just the result
of our nostalgia! I have no idea but remember we are
from a slightly different generation so that kind of
sound might be inevitable.
Newman, Spigel and yourself originally started
this for ~Swim’s 10th anniversary. Did you ever
envisage that it would go any further than the original
one-off collaboration it was?
Not as this kind of concept. I could have imagined us
creating a more electronic project in the past but having
been friends for so many years now it’s always
been an underlying belief that one day we would make
something ‘happen.’ This has taken us completely
by surprise in the most positive manner. As people responded
so very positively to the first recordings and shows
it would be churlish to simply stop when it’s
just so fun!!
You recently released an album that was created
as a soundtrack for a wedding. How did this project
come about and why did you accept to work on it?
I was contacted by a long-term supporter who was getting
married who offered up this daring idea of commissioning
me to soundtrack this very valuable day for him. I was
touched by his approach and generosity of spirit and
given the timetable I accepted the challenge. I wanted
to create a work that outside of much of electronic
music offered the chance to be very emotionally engaged
in the sound which I hopefully achieved. The title alone
was a challenge – The Radiance Of A Thousand
Suns Burst Forth At Once.
You also released Double Fold last
year on RX:TX. How did you come to work with them, and
how did the project come up?
I had been working in Ljubljana and met with the label.
This remarkably beautiful city offers such a positive
image of an area previously perceived as complex and
difficult. There is an incredible sense of optimism
and change with people there. As I said, I make many
decisions in my life and my philosophy is simple: I
like to work on projects that I like with people that
I like, which contributes to a very positive conclusion.
As such I’m clearly aware that RX:TX do not have
the resources that EMI or Warners do but they offered
support, and a clear understanding of the work and it’s
invaluable to value such organisations. Double Fold
was a singular track, divided into sections that took
samples of paper torn, folded, screwed up and processed
into a work that developed from very abstract to very
intensely rhythmic within this time frame.
You regularly post on your website, and often
about what gig you’ve been to or which exhibition
you’ve visited. Are you culture-hungry, and what
is your opinion on the way culture is promoted to society
in general?
I enjoy sharing enthusiasms and ideas. I am extremely
desirous in terms of promoting and consuming a creative
culture. It’s invaluable to the general emotional
make-up of our well-being and greater understanding
of the world around us.
You’ve released music on a variety of
labels, from Ash International and New Electronica to
Sub Rosa, Earache, Sulphur and Fällt. Has it been
a way for you to retain control over your work?
I have simply never been interested in following a pattern
set up by most major and independent record labels that
perpetuates a basic system – artist records release,
label releases it, artist tours and makes interviews
to promote product, artist spends time working on next
release and so on. This year alone I’ve already
released:
Scanner: Radiance Of A Thousands Suns Burst Forth
At Once CD (Steamin' Works)
Scanner: Reason By Heart (Bine Music)
Scanner + Jean Paul Dessy: Play Along (Sub
Rosa)
Githead: Profile (Swim~)
A few years ago, you set up your own record
label, Scannerdot. Why?
Actually it was called Sulphur, Scannerdot is the publishing
company I run. I was keen to support the work of other
interesting artists and release them. I wanted to release
10 albums and EPS over a number of years and then close
the door on this, to not end up as a director of a record
company, to merely facilitate releases. We achieved
this I feel by releasing works by Simon Fisher Turner,
Michael Wells, Tetine, Ashley Wales of Spring Heel Jack
and so on.
Are you working on anything particular at the
moment? If yes, can you tell us a bit about it?
Goodness, too many projects as always. I’m currently
writing a soundtrack for a contemporary dance company
in Washington DC called Efficiency, for another
in Paris with choreographer Lionel Hoche, and another
in Leipzig Germany to be performed in a former Soviet
theatre. I have an exhibition that just opened in Geneva
(http://www.mix-m.org/),
and am about to begin a tour with amazing UK percussionist
Pete Lockett, with whom I’ve also just recorded
a CD, entitled Autek. I’m also about
to begin an Artist Residency with BBC Wales towards
a convergency arts project in October this year. I am
also just setting off to China this month to develop
new work for the Guangzhou Triennial this year. (http://www.gdmoa.org/english)
I have another new collaboration coming out in Italy
with Persistence Records, with Rolf + Fonky, entitled
Tinnito, a very intense, very groovy, dance
floor friendly, broken beats record.
And more…and more…no sleep for the wicked!!
What is next in your diary?
As Contributing Editor to kultureflash.com,
a London based e-zine, with 23, 000 subscribers, I have
to write some reviews and previews. Then perhaps time
for some lunch … J
Email interview July 2005
Thank you to Robin Rimbaud & Julien @ Kultureflash.com
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