Worm Interface
From breakneck-speed beats and bass to emotive ambience within the space of one release, this imprint boasts a level of artistic freedom that most labels could only dream of aspiring to. "We have arrived at this point totally on instinct, and we try to be really open minded about what we select for the label – music that really touches us in some new way," explains Django.
Their latest CD release, the fourth instalment from the Alt.frequencies compilation series, is testament to this. The assorted selection of material by artists from as far afield as Sweden (Plod), Canada (Meek), Japan (Himuro and Baraki) and of course the UK (Mira Calix and Freeform) demonstrates an impressive global label roster. The tracks are ever as diverse as the countries that spawned them. From Koichi's metallic drum 'n' bass opener and Freeform's ass-shaking 4/4 workout, to the unsettling ambience of Warp's Mira Calix, this compilation covers ground from emotive Detroit strings to quirky alien jazz. As with many of their projects, tracks can be heard on the label's website, visually accompanied by a hot-off-the-hard-disk video from New York’s Mumbleboy.
"We see desktop video as an absolutely huge area that is going to go way beyond what digital technology has done for music," continues Django, "and we have started our own efforts in combining multimedia and network distribution (as seen in warez and mp3s) in a tangible way with our free ‘Wormplayers’". So, just how significant to you is the internet? I ask. "The net is very important to us. I met Mad Mike [Underground Resistance] a few years ago and he was telling me that the thing that made the difference for the UR and +8 generation of labels is that they had a fax machine, whereas Metroplex and Transmat etc. just had a phone. It made a total difference for them in terms of selling globally and he sees the same kind of thing happening with the net – so he's concerned with universal access and ensuring it doesn't just become a rich white thing. The net is a total shift of world power that we could talk about forever, but at a more practical level, most of our [label] development has been with that influence, and we have been able to sign very interesting unique voices from around the world." One such recent addition is contemporary Russian, Solar X – a famous astro-physicist and ex-martial arts champion of Europe, who is shortly due to release a full-length project through Worm.
Accepting all possibilities tends to be the Worm's way, resulting in no hard and fast rules, just honest, inventive music to move you. ‘Unearthing more secrets from the electronic underground’, the press releases for the new compilation states. "That's right," says Rocket, "unearthing new talent is what we're staying open for, we're always looking round the corner." Indeed, one of the many bright young hopefuls to take a demo to Rocket's Ambient Soho record emporium (also Worm Interface HQ) in Berwick Street was Tom Jenkinson, aka Squarepusher. After a live debut at Worm Interface's ‘LIVEwires’ nights, he was swiftly signed with Rephlex and then Warp. Similarly, and just another success story amongst many, after releasing his debut album on Worm Interface, Freeform also went on to record material for Warp. But enough of history – Rocket and Django are keeping a keen ear [and eye] on the future, with forthcoming albums from Sandspider and Dunderhead, a new compilation [Electric Chicken Volume 01] plus a 7" from FunTourist (aka FuTourist) from Finland, which Rocket describes as "dynamic Squarepusher style with jazz-rock-influenced keys. It's cheesy but lighthearted. Very musical but doesn't take itself too serious. We're not making any profound statements here."
With so many amazing demos passing through Ambient Soho, setting up a label seemed the logical progression. But having kept a pretty low profile over the last few years is the Worm starting to turn? "We see a kind of renaissance of truly independent and stylish labels happening now," tells Django, "People like Unbearable, Toytronic and Breakin', as well as the likes of Rephlex. We also see a lot of these new labels from abroad as part of a whole movement. It's exciting because it's the first time an underground movement has really come up in all these places at the same time and been based so much on (virtual) networking rather than being geographically based. It’s a very practical difference because that reach means that it is possible for a very leftfield project to be financially viable, so we get more interesting and risky ideas turning up and feeding the culture."
The issue of majors vs underground is a recurring theme in my email correspondence with Django. "The crap economics of independent labels, which Sony have definitely played a part in, mean that most of them have been forced into a blind alley of commodified dancefloor fodder. I used to love the fact that the majors didn't know how to market dance music, but now it feels like they have caught up and it's time for new strategies. Small runs, individual packaging, sometimes stealth promotion etc. – it’s something majors cannot touch."
The artwork of graphic designer David Vallade is also an integrale part of the ‘package’ and identity of Worm Interface. "David has very much characterised the visual style of the label and continues to take that forward. We are lucky to have him," comments Django.
For most of the musicians within the fold, it is their modest usage of equipment that ultimately breeds such inventive compositioning, as Rocket explains: "They're all working within the constraints of very limited set ups, just the basic elements. The amazing thing about most of the demos we receive is that they are created on very little kit. It pushes them forward – like Karsten Phlum, he only has three pieces of equipment. Often it is not out of necessity, but because its an important part of what they do. It's all very techno."
If techno is, in the words of Jeff Mills, ‘something you've never heard before’ then, controversial as this may sound to all the self-styled techno heads who have become stuck in a loop, Worm Interface must be one of the most 'techno' labels on the planet.
Their latest CD release, the fourth instalment from the Alt.frequencies compilation series, is testament to this. The assorted selection of material by artists from as far afield as Sweden (Plod), Canada (Meek), Japan (Himuro and Baraki) and of course the UK (Mira Calix and Freeform) demonstrates an impressive global label roster. The tracks are ever as diverse as the countries that spawned them. From Koichi's metallic drum 'n' bass opener and Freeform's ass-shaking 4/4 workout, to the unsettling ambience of Warp's Mira Calix, this compilation covers ground from emotive Detroit strings to quirky alien jazz. As with many of their projects, tracks can be heard on the label's website, visually accompanied by a hot-off-the-hard-disk video from New York’s Mumbleboy.
"We see desktop video as an absolutely huge area that is going to go way beyond what digital technology has done for music," continues Django, "and we have started our own efforts in combining multimedia and network distribution (as seen in warez and mp3s) in a tangible way with our free ‘Wormplayers’". So, just how significant to you is the internet? I ask. "The net is very important to us. I met Mad Mike [Underground Resistance] a few years ago and he was telling me that the thing that made the difference for the UR and +8 generation of labels is that they had a fax machine, whereas Metroplex and Transmat etc. just had a phone. It made a total difference for them in terms of selling globally and he sees the same kind of thing happening with the net – so he's concerned with universal access and ensuring it doesn't just become a rich white thing. The net is a total shift of world power that we could talk about forever, but at a more practical level, most of our [label] development has been with that influence, and we have been able to sign very interesting unique voices from around the world." One such recent addition is contemporary Russian, Solar X – a famous astro-physicist and ex-martial arts champion of Europe, who is shortly due to release a full-length project through Worm.
Accepting all possibilities tends to be the Worm's way, resulting in no hard and fast rules, just honest, inventive music to move you. ‘Unearthing more secrets from the electronic underground’, the press releases for the new compilation states. "That's right," says Rocket, "unearthing new talent is what we're staying open for, we're always looking round the corner." Indeed, one of the many bright young hopefuls to take a demo to Rocket's Ambient Soho record emporium (also Worm Interface HQ) in Berwick Street was Tom Jenkinson, aka Squarepusher. After a live debut at Worm Interface's ‘LIVEwires’ nights, he was swiftly signed with Rephlex and then Warp. Similarly, and just another success story amongst many, after releasing his debut album on Worm Interface, Freeform also went on to record material for Warp. But enough of history – Rocket and Django are keeping a keen ear [and eye] on the future, with forthcoming albums from Sandspider and Dunderhead, a new compilation [Electric Chicken Volume 01] plus a 7" from FunTourist (aka FuTourist) from Finland, which Rocket describes as "dynamic Squarepusher style with jazz-rock-influenced keys. It's cheesy but lighthearted. Very musical but doesn't take itself too serious. We're not making any profound statements here."
With so many amazing demos passing through Ambient Soho, setting up a label seemed the logical progression. But having kept a pretty low profile over the last few years is the Worm starting to turn? "We see a kind of renaissance of truly independent and stylish labels happening now," tells Django, "People like Unbearable, Toytronic and Breakin', as well as the likes of Rephlex. We also see a lot of these new labels from abroad as part of a whole movement. It's exciting because it's the first time an underground movement has really come up in all these places at the same time and been based so much on (virtual) networking rather than being geographically based. It’s a very practical difference because that reach means that it is possible for a very leftfield project to be financially viable, so we get more interesting and risky ideas turning up and feeding the culture."
The issue of majors vs underground is a recurring theme in my email correspondence with Django. "The crap economics of independent labels, which Sony have definitely played a part in, mean that most of them have been forced into a blind alley of commodified dancefloor fodder. I used to love the fact that the majors didn't know how to market dance music, but now it feels like they have caught up and it's time for new strategies. Small runs, individual packaging, sometimes stealth promotion etc. – it’s something majors cannot touch."
The artwork of graphic designer David Vallade is also an integrale part of the ‘package’ and identity of Worm Interface. "David has very much characterised the visual style of the label and continues to take that forward. We are lucky to have him," comments Django.
For most of the musicians within the fold, it is their modest usage of equipment that ultimately breeds such inventive compositioning, as Rocket explains: "They're all working within the constraints of very limited set ups, just the basic elements. The amazing thing about most of the demos we receive is that they are created on very little kit. It pushes them forward – like Karsten Phlum, he only has three pieces of equipment. Often it is not out of necessity, but because its an important part of what they do. It's all very techno."
If techno is, in the words of Jeff Mills, ‘something you've never heard before’ then, controversial as this may sound to all the self-styled techno heads who have become stuck in a loop, Worm Interface must be one of the most 'techno' labels on the planet.
