We touched on the origins of rave culture, and you guys were instrumental in the manifestation of that culture certainly in the trance and electro side of things. It was something quite special in those early day house raves. You felt like something quite special was happening. Probably because everyone was pilled out of their tits, but you felt like it was something new, fresh, building on from the whole electronica Giorgio Moroder origins of synthesised music and taking it to a whole new level of anarchic.
Phil: Anarchic by dismissal, it wasn’t like punk which was confrontational, it was more about saying fuck that, and let’s just love each other and have a good time.
Paul: Going back to your original point I think it’s the last big youth movement which has happened, as far as I can tell.
Phil: What about EDM? (Laughing with his tongue in cheek)
Paul: Well that’s part of the same thing isn’t it. That’s just the second wave of the same thing. It might have petered out, but it’s always been there and just took a surge in America with EDM. You can trace EDM right back to…
Phil: Orbital! Ha Ha Ha!
Paul: I wasn’t going to say that!
Phil: You should! We went on tour around Americal back in 1990 with Meat Beat Manifesto and it was like Industrial like front 242, and Meat Beat Manifesto fitted in there.
Paul: Everyone dressed in black. Techno Goths! There would be a little group of dayglow ravers in the corner, and when we played they would come over and watch us! It was the beginnings of something.
Phil: There were little pockets of ravers in their areas, and it was very underground. Nobody else really got it, and it was quite underground. Then it went national and got big, then they started making up there own shit, which is where they went wrong! Haha.
Paul: I quite like Deadmau5, I think he’s quite good.
Phil: I didn’t say deadmau5! Anyway he’s Canadian (laughs)
Coming back to the early days. Your live performances were legendary. There was nobody out there who was performing live dance music without the sequencing the tracks in advance. You guys are improvising constantly. That doesn’t happen anymore, and nor do people come out on stage with big old analogue synths, knowing full well they might break mid-performance. Your live rig is pretty epic. Are you still exploring technology or do you have a set of tools you stick to?
Phil: Fuckin hell, (laughing and looking at Paul)!
Paul: I’m always experimenting. I bought two new synths which will hopefully do me for the next few years. One which I’ve got and one which I’m still waiting for because it’s so hot off the press, I’ve not got it yet. Which is the Waldorf Quantum a big fuck off sample and wavetable synth and the sequential circuits prophet x which is again a sampler with an analogue front end.
This is what I’ve been waiting for, I like hardware samplers and I’ve been waiting for some good ones and it looks like I’ve got a couple now! I always rely on old favourites, I always rely on Roland synths of all ages.
Phil: The fucking synth collection he’s got!
Paul: Mcbeth M5N is one of my favourites. I’d like to take that on tour but you can’t ship it or take it on a plane.
Phil: He’s got two of them!
Paul: I don’t like to swap and change too much on tour because I like to learn things on the road. We’ve got the Matrix Brute taking the place of the M5N which is proving pretty good!