INTERVIEW: AUDION aka MATTHEW DEAR 2009 | MedellinStyle.com Exclusive
Finally! after 3 years of waiting Audion is here!!!! do you think we missed something of good actuallity moments? or at the contrary, we will have hundreds of conclusions in this musical space of lost time?
Finally, indeed. It’s been a long wait, no? Audion live is always changing, so you won’t hear the same songs from last year or the year before. I’ll play some of the recent songs in their entirety, and some pieces of the older ones. Be prepared for anything. Lots of noise walls. Craziness without beats. I did recently put a new synthesizer into the set up, and it can produce some menacing sounds. Medellin will like the new addition.
It was 1999 when you put your hands up in Detroit with a Sneaky track, but later in 2002 what moves did you steal that apparently helped you to create a identity in your sound?
Ha. Nice reference to my history. I was totally stealing moves. Really though, “reinterpreting moves”. I’ll always be redoing something that’s come before me. There is no strong separation in music this way. Musicians of popular culture cannot escape the music they hear as children, or even now. I embrace this fact. The best I can give is my interpretation of everything. I’m sure it will sound like pieces of something from before. This connection to the past is inescapable.
How did you invent the Audion name?
It was an accident. I typed “Audio” too fast and hit the ‘n’ key afterward. I liked the way it looked and decided it was the perfect fit for this new sound I was working on. Of course after research I found there are many other Audion’s out there. The Audion tube for example is the predecessor of the vacuum tube. The first radio amplifier from 1908.
Is still Noiser yout fav Audion track?
It’s one of them. Sheer craziness, and I always wonder how I got all the synth lines to bleed into each other like that. It sounds like a swarm of hornets in perfectly off-key harmony with each other. However, Titty Fuck is one of my old favorites. And I much more prefer the recent, deeper stuff. I can’t always keep doing the hard energy stuff. Its a bit boring all the time. Change is necessary and deserved.
Its weird and funny, in our last interview you said that Detroit is decadence, but you are more than ON FIRE, and now we can just call Seth or Lee, and our fathers are still doing it Juan, Derrick, Stacey, Carl after more than 20 years… difference to many that are starting to feel old, tired or full of just money, what do you think about this souless bussiness phenomena and disrespect for the music as an art form.
Detroit instills a sense of musical history in those who’ve lived there. You can’t make music for the glamour or popularity if you’re living there. It’s about the creativity and experience first and foremost. That’s not saying you can’t strive to get your music around the globe, but you have to do so for the right reasons. Detroit is humbling. There is so much greatness from the past in that city. Anyone who came later can only pay respect and homage to the history that came before.
What do you think about nowdays world house wave of new producers making loopy things, and super underrated artists like Theo Parrish and Moodymann ? If you have to chose a guilty of this type of misunderstandings of the culture in the general escene, who would be? media? the industry? the marketing? the low research of the mass?
Those guys still do it better then anyone else. I guess marketing is to blame somewhat. If someone isn’t going to do interviews all the time, or play every club that asks for a booking, marketers will just turn to the next guy who’s willing to talk. I find it fascinating how secretive and protective a lot of those guys can be with their music. It takes a lot of power to stick with your beliefs like that.
What do you like more? the dj-all-over-the-world side or the indie-musician-artistical way?
Well I tend to like both. I fell into both of these worlds as a young musician. I never completely packed away my guitar or turntables. I always kept both influences open to my career, and allowed certain times to concentrate on each of them. I benefit from hearing all these types of music in the live environment.
Lets talk about Hecatomb! when, where and how the concept born?
Last year. It was time to bring something bigger to the stage.
Help us a little… Jeff is the Ghostly designer, Will Callcut and Eno Henze the artists? who designed the Audion eps covers? how all this persons relationate in the Audion graphical proyect.
Jeff is the label manager at Ghostly. Will Calcutt does all of my album/EP covers and photography. Eno Henze is the Berlin artist who designed the visual content and operating system for the Hecatomb show. Will, Eno and myself spent a month in Berlin earlier this year coming up with the concept of the show.
Who is your favorite graphic designer?
Bridget Riley has an obvious influence on the Audion project since the beginning.
Who is the vj that comes with you in the tours? what does he do and what you do in your touchpad screen? whats the setup for an Hecatomb show basicly?
There have been three people that assist me all year, but in Medellin it will be Eno. Normally, I control the touch screen and the music at the same time, but if Eno is with me he will control the visuals. It’s like being with the designer of the car your in and not asking him to drive it.
Where was the most amazing Hecatomb show talking in visual madness?
Fabric was great: http://vimeo.com/7377736
I’d have to say Womb in Tokyo was the best though:
To end what is “ether” in the Audion universe?
Air to breathe.
Hecatomb will touch Medellin this Saturday at FORUM venue, opendoors 10pm to 10am, other talent: MERINO, CHRISTOPHER AND NEW TALENT.