Ansome, a dark wizard of techno, has been dominating festivals, club nights and everything in between with his monstrous live set and heavy releases such as ‘Coffin Dodge’ and ‘Stowaway’. We chat to the UK producer
Q: You’re known for your extremely heavy pulsating bass driven techno. Was your taste always this way or did it slowly evolve heavier as the years went by?
A: Yeah it’s super fucked up how you get accustomed to a more erect, harder sound. I remember hearing ‘Acid Badger‘ and being like wow this shit is mental, but hearing it now, it feels like that shock factor or how extreme it was, has been lost.
Maybe I have just completely lost the plot but for me the bar has been risen, in what’s possible/the norm.
Also being a sound designer at heart I feel that this harder music offers at times a higher level of sound design, which is more sonically pleasing to my ears. The way emotion can be displayed without melody and harmony is extremely powerful.
What was the question? Haha, yeah so in short, no it hasn’t always been like this.
Q: For such a unique screeching sound, who are your main influences when producing?
A: For me Blawan and a lot of music from Fifth Wall kinda changed the game for me. But after finding my sound / what I wanted to do, I find I listen to a lot less music and just experiment more.
Q: I witnessed your immense live set at Bloc when you played with Sunil Sharpe and DeFeKT. Can you run me through the key pieces of equipment you need for your live setup?
Q: Your label South London Analogue Material has been bringing out some great releases like Keepsakes’ latest EP and holding some great label parties. What was the first idea for the label when it started and where do you hope to bring it next?
A: Catch and I just wanted to put out some records with no delays and do whatever we wanted to do, but now the idea has kinda changed. I have made lots of friends though music and now its kinda like a group of friends / people I like, putting out music we like.
We have loads planned for this year with releases and label parties and the best thing about it is that it’s a group of mates having fun and playing good music.
Q: We see you playing with DeFeKT a lot and your sets are extremely entertaining and full of energy. Can you tell us how you first got introduced with DeFeKT, how much your relationship has grown and have you any plans to release any collaborations in the future?
A: We just got booked on the same line up and both of us love what we do. The compatibility was there. We both improvise loads in our live sets so it’s easy to just click together and jam away.
The fact he’s from an electro background works well, it adds something totally different that I wouldn’t necessarily do and vice versa. We also became good friends over the times we played together which makes the whole ordeal so much fun. We have been in talks about making some records so that could happen.
Q: Industrial techno is on the rise at the moment and you’re definitely on the forefront pushing its limits in clubs. Do you think the sub-genre is headed in the right direction?
A: I think techno in general feels very strong at the moment especially some of the harder stuff. It does seem like a lot of people are trying to fuck the same bitch though and although they might be good enough, at the end of the day I would rather stand as an artist with my own sound and not in the label of “industrial”.
Q: We can see you’re a man that loves hardware. At this moment in time what’s your favourite piece of hardware in your studio/live set up and have you any plans to ever start your own brand of hardware?
A: I get asked this one a lot: it’s gotta be my Modular. I know its kind of a cheat answer as I have loads of different Modulars, that do so many different things but it would take forever to get through them all. I have also started buying some 500 series stuff, super boring – but stuff like the pul tech Eq clone is just amazing to work with.
Q: Techno has a strong stigma with hipsters and everything being taken quite serious, do you think this is true and should we try to defeat these barriers?
A: Oh yeah it’s super mental how serious people are, I hope I’m not seen like this. I kinda like single speed bikes and coffee so maybe I am the problem and I would grow a beard if I could… Mmm maybe I should have a long hard think about what I’m doing with my life.
Q: I read that you studied music production for two years, some artist have mixed opinions on these courses. Do you think this helped you to find your sound or would you recommend aspiring young artist to try other routes?
A: Five years…. ha don’t worry about it you’re forgiven it’s not like I just got a first class honors degree in sound design. Don’t do “education” if you want to learn about music production or anything in fact. It’s a load of shit. People who can’t do, teach… They should make teachers wages very high so it’s where the best people at their trade want to go, then the system would work.
Just look at videos on YouTube and fuck about on the computer. If your interest is strong enough you will find out what you need to know. Don’t waste time and money watching some loser read some PowerPoints.