Spaceship design, inventing instruments, motion sensor technology, 3D global promotional campaigns and landing on comets… Some interviews can be a pretty straight-up affair. But not when you’re talking to Sub Focus.
Next week sees the launch of his long-awaited second album Torus. He’s also about to hit the UK with a full arena tour. We thought we’d give him a call and find out more.
But first, this incredible piece of documentarianism… A high spec account of his life on tour, and the full details on the instruments he’s invented for his live performance. Instruments wholly unique to him.
httpv://www.youtube.com/watch?v=OS1XTIMYY78
Spoiler: both this video and interview go seriously deep. But we’d expect nothing less from bass music’s brave scientist. Enjoy…
Four years in the making… Was Torus that classic difficult second album?
No not really. It was more like three years because I was touring so much after the first record. I actually had a difficult first album! I was determined not to fall into the same processes I found myself in during the first album. I’m actually making mental notes for how I approach my third one!
Why was the first one so difficult, then?
I spent such a long time on it. I had that luxury to spend as much time on it because you never get a second chance to write that first album. This new one was informed by things I wanted to do differently. So the last one was very much a club album; it worked well as a listening experience but all the songs worked well in clubs.
I wanted the new album to work in different environments, so not all of the songs are designed to work well in clubs, it’s a much deeper mix with more variation and more ups and downs. There are parts without much beats which are very removed from the club stuff I’ve been known for. There’s an established beginning, middle and end. I was placing songs in different positions and really working on the actual dynamic and the whole body of work.
Like a real narrative. Explain the title, Torus…
I’m really keen for people to interpret it themselves but it’s the geometric name for the type of shape that’s on the cover. There are loads different theories and ideas on the shape. It’s actually been proposed as the ideal shape for spaceship design in the future. A disc shape with the hole in the middle.
Spaceship design?
Yeah, I’m obsessed with science. That’s why I love making this type of music; it’s a combination of technology and creativity. So yes, people have proposed the shape as ideal for space ship design; a rotating disc could theoretically create enough centrifugal force to recreate gravity. If you look at 2001 Space Odyssey, there’s an iconic scene with the guy running down it as it rotates. I’m always really inspired by that type of thing.
Give me a crucial scientific or technological breakthrough in the last 10 years…
That’s hard to say man. Too many to pick from. I’m really interested in space travel; I watch a lot of documentaries and read a lot about it. There’s a mission that’s scheduled to land on a comet which is super interesting.
Landing on moving comet?
Yes. A landing on a live, moving comet. Amazing isn’t it?
Wow. So… Back to the Torus shape. You use it in your live show…
Exactly. I’ve been playing with the shape since my first record. I love having a concept I can work with and this album and my live show is all about bringing the shape from 2D to 3D. Hence the 3D album sampler that’s been launched.
Cool concept. Your idea?
I developed it with the label. I love the idea of taking the album design one step further and taking you to different places in the world where you can hear different tracks from the album. It’s had a great response.
Did you pick the locations?
Yes I did. I always get really involved in these type of projects. Anyone who works with me knows I’m very hands on with everything we do. I picked the locations because they’re so impressive and striking. It was really cool going through the Googlemaps and the cool 3D panoramas.
It’s completely new and different; I don’t think anyone has revealed their album in this way before. That’s what I’ve been trying to do over these last few years – especially with the live show.
Yes… tell us all about it!
I’ve been trying to push the technology we’ve been using. I want to get it to the point where we use technology you can find anywhere else. I have software that allows feedback from my set-up to the lights so I can control the visuals within the circle. The other thing that’s different are the motion sensors that allow me to move my hand around and control the frequency. They work really well, people have started to notice what I’m doing, it’s a very cool thing. I’ve been trying to come up with ideas that make your electronic live show visually interesting. The idea is based on the really old radio-wave based instruments called theramins. I wanted to create a modern day version that could control synth patches that I’ve made. The most noticeable thing I’ve done with them is during the intro for The Story Begins.
That pitch-bending sound lends itself to that type of presentation…
Yeah exactly. That was the first thing we attempted with them and there are other successful parts of the show that incorporate them too. It’s all about making electronic instruments that are much more interactive and more exciting for the crowd as well as the performer. I’m looking at other exciting technologies, too, like leap motion which is based on similar technology to the motion sensors but used as a means to control computers. Kind of like Minority Report, controlling windows round with your hand.
I’m guessing this gives you more scope to freestyle on each performance…
With one person doing everything there will always be parts of the show that relies on samples being played back. But I can sample and edit while it all happens. I use a lot of iPad software during sample editing. I can take a drumbeat and change the whole pattern on the fly. Also step sequencing, where I create a beat from scratch and build it up. Every show I do a different beat. So yes, there is much more potential for improvisation than previous live shows.
Has that influenced your production technique?
To be honest, no. If anything it’s a slight distraction. I have to break down my songs into hundreds of different clips and putting them into Ableton. It’s really time consuming! It’s taken my attention away from actually writing songs. Eventually the technology will influence my production, especially using instruments like the motion sensors; you get a unique expression from moving your hand around. I’m looking forward to how I can explore that in much more detail for material on the third album…
Sub Focus – Torus is out September 30 on Ram Records.