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Jamie Lidell2003 Interview
Alex Ward talked to irrepressible performer Jamie Lidell back in 2003 about his first album for Warp and his ever-evolving live show
By Alex Ward
What have you been up to then?
All sorts really. Berlin, living, trying to build a new studio – that's been a big old boy for me. I was in this fucking cool place in the east. It was the old radio station for the east – it had huge old 50s rooms, really beautiful. I had some huge space to store all my shit. I was sharing it with this enthusiastic nutty German geezer who was always like 'c'mon, you must check this out' – bringing in all this dusty old tech and stuff, and to an extent I'm quite down with that, but he just ended up becoming a really distracting influence. I was trying to settle down to do some mixing or something and he'd burst in the room and go 'how's it going? What you doing? Ahh, that sounds cool!' After a while I realised I couldn't have my privacy. I should have noticed it earlier.
There are a lot of things in my life I let go on far too long, whether it be relationships or whatever. I'm not very talented in knowing when the best time is to call it a day – to be more effective. Maybe that extends to living in Berlin. I don't know whether that's really necessarily true, but I definitely feel a certain amount of relaxation coming back to England. I can speak the language, just doing little things – it's so much easier here. So anyway, with that whole fiasco I didn't really achieve much recording. We did a couple of Collider tracks off the Raw Digits album in the Berlin studio. It definitely had this feeling you know – this certain kind of darkside wave.
Do you feel that came through in the music?
I reckon yeah. I can hear it because I remember it, but I don't know if we could ever say it comes out in the sound. You'd come to the building for example and they'd be a couple of old geezers. That's their job – just looking after the building, been doing it for years. They'd be stuck in this little booth giving it this stern kind of interrogation vibes before you even come in to your own studio. And in the wintertime it was just grim. It was far east and it took about forty minutes to get there by really remote trams and shit like that. Berliners are renowned for their miserable facial stance, and that's what it was – just a load of faces looking at you. After a while I just hated it, even though when you're inside the possibilities presented to you were huge. Fucking amazing ways to record instruments – they had a big old Hammond in there, a couple of drum kits, and I learnt loads about how to mic stuff. So I didn't waste my time completely but I definitely wasted it in terms of productivity because I fucking did almost nothing.I did one mix in there which I would basically say is the sound of the studio – this Herbert remix I did of a track The Audience. He gave me three days to do the track. I'd just set up in that place because I hadn't have money to get my gear. He was like 'have you got a studio yet?' I said 'we'll, I got a soundcard just the other day'. He said 'do you want to do this remix then? Well you've got three days'. I got really in to it, did like real drums, got out in the corridor and did all these vocals, really went to town and thought 'this is the way I'm going to do it'. I had this new work ethic. I really a kind of deadlines geezer, I'm a slack bastard.
You work better under pressure then?
It's the only way I actually work to be honest. When I'm left to my own devices... It's like coming here today, for me it was a bit like 'ooh, fuck, gotta get up at eight'. I'd been up recording with Collider yesterday – we did a track off the live set. We thought the track sounded good and it would be a shame not to have it archived properly. So we went and archived that in the Lo-Fidelity Allstars' studio. They've got a really nice studio so we just set up in there and just jammed it out. As things go it took ages just to get it going.
You seem quite adaptable at working in different environments.
To be honest I'm most happy when I'm not in my own space. I always see other people's gear and thing 'wow, you can do this and this with this'. Actually, I've become less like that. I lost a lot of confidence when I moved to Berlin. Something happened – it was a combination of things – like my relationship making me pretty unhappy, well, very unhappy in a way. A few things like that really knocked me down a few pegs and I thought 'oh shit, I don't know what I'm doing anymore'. I lost my skills of programming. I got really out of the habit of programming beats – all that kind of shit just went out the window. Then we got down to business with Super_Collider. That's why the second Super_Collider album was so different – because I was in quite a sombre mood. I wasn't in the mood for doing all this jump-up shit, I wanted to explore the darker realms a bit. Sombre is not really the word – it was just more of an introverted vibe. But I needed that at the time and it helped – almost kind of therapeutic.
So anyway, I had that kind of lull and I'm building a new studio now. Although it's only a box, and it's still in a dumpy part of Berlin, something about it just feels really right. When all my gear's in there it's going to feel like a real womb. It's going to be wall-to-wall gear and it's going to be going back to that partial bedroom vibes. It just got that readiness feeling. If you feel that readiness you can do stuff. What I also noticed about this place in the east was – say for example you wanted to work at night – the last train back was at twelve, and if you missed that train then that was it until six in the morning. It would cost you twenty quid to get back with a cab, so you had to make a serious commitment. I wasn't in the mood – it was such a darkside place to be; huge long corridor, it felt like The Shining or something. It housed five thousand workers in its heyday, so this place was fucking big. Two hundred metre-long corridors and six floors – makes for beautiful reverb but it was too big and too much and I was too distracted. I didn't make good use of my time, and I've kicked myself for it. I could have had an album all done and dusted and sounding beautiful if I'd put my resources to it. Dave Tarrida who I'm a good mate with, he comes down and says [adopts Scottish accent] 'Jamie man, you just got to be more resourceful with your time man'. 'You've got to fucking apply yourself' is what he said.
So now I'm trying to make a new approach to it all – look at what I've got in the diary – because I have taken on an awful lot of live gigs, and that's demanded a lot of time. To be fair I've got myself a lot more together on that level. I had a kind of game plan based on a logic like 'if people are buying less records because they're all bootlegging it and all that shit, you can't copy a live experience'. So I thought fuck it, I'll put all my energies into that then. It's got to be something that's good for the future – if you can get the live shit down, people have to come and see that shit. I've made a little system for playing live which is unique. It's rubbing off, I'm getting a lot of gigs and interest from all that so that's wicked. So I just need to back it up with an album. It's always difficult. I had this meeting with Warp and they're like 'all you have to do is this great album'... They've put a lot of money behind me and it's a daunting prospect. It's something I tried to promise myself I wasn't going to do – get too much cash. That's kind of what happened with the first Super_Collider thing. We had a lot of money. Well, it wasn't epic but when you start to have twenty grand on a video... In this day and age you don't recoup easily. It'd be nice if I could sell fifty thousand records, but my last record on Warp sold about two thousand, because it was so mentalist.
So, next Warp album is not going to be so full-on?
Well, I don't want it to be either, in the same way. It's a different buzz. The whole thing about this is that if you start to think 'I'm going to make it like this then', or 'better make it more like that' you start to filter yourself, and you start to think 'ah bollocks then – I'm sapping my own artistic vision for the sake of a supposed public or 'projected' public'. Reading NME or reading certain papers, you think 'is this my projected public?' That's not my projected public – although I'm making music with guitars and drums and stuff. Well, bass and drums. I think well, I could get clumped in with all these guys, but they'd think it was fucking nonsense or whatever. I can't help thinking about how it will be received before it's done.
Do you feel there's a certain doctrine attached to recording for Warp?
Yeah, I think there's a kind of expectation. They've definitely made that leap to get out of all the pure bedroom electronica sound – whether that's really classing what they do properly. You know, that respectable sound of electronica, which from just going out and seeing a lot of live shows doesn't really give me the tingles anymore. I think there was a time when it really did. I would think 'wow, this is really pioneering shit'. There is a lot of it that is really fucking juicy on it's own level. But yeah, I think there is a stigma attached. I think you can punish yourself a bit much and go 'oh, I've really got to make this the fucking boy', and then you think there was a time when you just used to sit back and come out with good shit, you don't have the fucking pressure on the shoulders. Definitely felt like I've had that, and it's given me a lot of writer's block, on top of all the other things.
Have you had periods where you've felt restrained in your production?
I have. I have been restrained. Just looking at what's happened – I must have felt that. It's hard to live up to your own expectations, where you think you should be. You watch other people growing and doing really well. It's a weird business. You want to keep it on a level where you're having a really good time and you feel like you're making the music you really want to make. Sometimes you do get lost and think 'I don't know what the music is that I really want to make'.
A lot of artists I see have one formula in a way – like cooking a meal but just refining it till they get it really fucking perfect, so you really see a thread. I remember I went with my mum to the Tate Modern and saw this artist Eva Hesse. Her work was like that a bit. You could see early drawings and they'd all look like they were pointing towards sculpture or whatever, and then she'd get into sculpture. It was really wicked, latex and fibreglass shit, really weird and delicate, crazy shapes repeating, all kinds of themes explored – but definitely a thread connecting it all. With me I think it's harder for me to trace that, so I wonder to myself 'am I really an artist in that sense, or am I just someone who likes to dabble', and whether that dabbling will just come to an end naturally and I just won't want to do music anymore.
I've come to that vocal thing – what I end up enjoying most these days is singing. I do things which are just 'beds' for my voice really. It's really good when you go out on the road a lot because you get this crazy strong voice, because you're always just belting it out. If you just do studio stuff you end up getting this studio tan and everything that goes with it. You don't have to belt it out in front of a mic that can listen to a fucking pin farting. When you get that little extra 'oof', you go in to the studio and you can imagine the live thing – and you can think 'oh, this isn't going to work live'.
A lot of the songs on the second Super_Collider album are really delicate deliveries, and it's something I'm kind of anxious about with this new stuff I've been collaborating with Matt Herbert on. They're really beautiful songs but I know it's going to be hard for me to pull it off live because it's that kind of relaxed in-the-studio, cuppa tea vibe, you know... You're quietly in front of a mic, ballads stuff – it's just another kind of level of expertise. I'm not really like a 'pro' singer, bit of a like bastard who managed to get through somehow. I haven't got any training or anything like that. I think sometimes, in those kind of situations, it shows a little bit. You hear people who have got a really trained voice and their breath control is really proper. Yeah, I get anxious about all of that but I suppose I've just ended up getting my own style through doing that. I'm probably too over-analytical in reality. Talking about whether I work better under pressure – when things have got to be done by a certain date all that becomes secondary. You've just got to fucking do it haven't you.
Have you found it a rejuvenating experience to do some more Super_Collider gigs with a full band line-up?
Oh, I love it yeah. It's a totally different discipline to the way I'm working live now. I tend to leave at least 50% of my show to chance, just to the spontaneity, to the event – what people in the crowd are making me feel like. If they seem to not be getting down to something that's really hard, to try to steer it a bit more into something song-orientated sort of jam, or if they're little fucking tykes just give 'em some nasty. With Super_Collider we can fall foul of this problem of having to organise a set. Dedbeat for example, the first third of the set was like 'boom! Here we come', and then we broke it down to fucking ballads quite early on in the first half of it. This time it really took the 'oof' out of the festival crowd. It wasn't right actually, or we needed to have done something different, maybe stripped the music back completely, to just say voice or just bass – a one-minute period of sound that's like just refreshing the palate. It's all part of the learning experience, having the confidence of the band to just read the situation and go 'right, lets do this'. The problem I find with band situations is that I'm not really like a natural leader character. A lot of bands need a kind of leader character.
Does a leadership element evolve within Super_Collider when you're playing live?
No. Spontaneity is definitely there still. We don't rule it out completely. Jams will go on for ages – we'll listen back to the recordings and it'll be twenty minutes of epic. We don't really stick to the schedule like that – sometimes I'll just go off and do some beatboxing and shit because the mood takes me. People are feeling it and they encourage you to do it – so you do. It's a different discipline playing with Super_Collider. It's songs – I've got to try and deliver them. I like it because I can't hide behind anything. Standing there I'm really like 'frontman', old school, and I don't like that sometimes. We played that gig in London at the Spitz and there were so many of our friends in the crowd. It always gives me the fucking jitters. Up there thinking 'alright everyone, I'm standing la foot above you now, in a weird outfit. I'm going to sing to you all now'. It feels like giving a speech at a wedding or something like that – that anxiety you get.
So, do you feel freer when you're playing somewhere relatively obscure?
I do, totally, because they don't know me and I can slip into personas – which I find essential. People ask you 'isn't that a bad thing? Shouldn't you just be yourself?' I've thought about it so much and thought 'no, I am different people anyway' – even when I'm living life. Sometimes I'm in a bad mood and I just want to be left alone, I'm a miserable bastard. Other times I'm just drunk and like 'whoaa!'
However mundane that is, every day we're different people. When you want to do something extreme then you can't hope that the same person who goes and buys shopping, buys eggs or whatever, is going to be the same person that's setting fire to a guitar. You've got to step out of yourself. In a way people expect you to do that, otherwise where's the show? If all people want is some kind of reality thing they're talking bollocks. You can get that if you're DJing or something. Maybe you can do it if you're Billy Bragg or something, but I'm not. I'm a soul boy. What am I like? I'm like fucking George Michael – know what I mean? Suburban soul. It's ridiculous, and funny, and it should be that way. I hate the pressure of trying to equate what you do with a certain kind of honesty. All honesty breaks down when you start doing a show. For me the show is a spectacle. I like to see something – a show. I'm down with that philosophy – I definitely need to step out of myself. I need to get into a zone of some sort.
How do you see your live-show developing?
I'm trying to think about that at the moment. The way I'm working, I try to keep a really healthy blend between really old school hands-on gear and new school 'don't be afraid of technology' stuff. I don't want to be blatant retro but I don't want to be 'cool new school' either. I want to be able to cut up sound and use all the modern techniques, but at the same time I love tape machines. I like to scratch tape and I love the analogue as well – I wouldn't ever want to live without that. A hybrid of those things really. Working out ways so I don't have to carry so much shit would be cool. At the same time, when I see two live artists just setting up a laptop my heart sinks a bit – I think 'it's going to be one of them'. It's not a show, and I want a show.
The solo show is a weird entity, it's a weird buzz. I don't want to be seen as too much of a mad professor, with the whole studio. It's about striking a balance. I like that whole idea of equating machines with funkiness – I still believe in that. If the machine is sorting you out, wicked. Don't let it make you a slave to it. So many people just end up being a slave to their computer. I don't feel guilty if I have a two-track of beats playing behind me when I'm doing a full-on bit of vocal. I can't hope to do all the drums and sing at the same time - as if that's impressive. The visual aesthetic of one person doing too much is ugly I think, it's just sad. You should be able to trace the course of a track as it develops, that's my buzz. You should be able to see how something's evolved into what it ends up being. For example, doing stuff with the voice, I'll do a beatbox and put it in the computer. I'll do a little beat and as soon as I stop recording on the computer the beat continues. It's fluid, there's no break and it continues the first line while I lay another line on top of it - unlike a traditional looping thing which has no way of interacting with it after that point. I can then drop in and out all the different layers and start restructuring it, using the computer and my effects to beef it up, get a little bit studio about it at that point - build a bed so I can maybe deliver a whole verse on top of that. I can see a way in the future where I combine two computers and do that whole process twice and then use a DJ-style mixer in the middle so I can cross-fade my whole two jams but at the same time each jam consists of multiple layers, so I can rip everything out except for the drums on one side and leave just the vocals on the other. It'll be like part-DJ, part-live show, and a bit fucking frantic as well. I like things to be frantic, and edgy - like fall apart. It's on the edge of collapse all the time.
That's another part of what I define as a show. If you're not taking any risks there's no thrill to the show. First and foremost I'm into pushing the voice into new territories and not being afraid to warp it out. A lot of people ask me 'why do you put pitch-shifters and stuff on your voice?' People that I respect a lot. Taylor Savvy asked me that - a Canadian guy that works with Peaches. He says 'ah, you shouldn't use that pitch-shifter you know'. I'm the kind of person who goes 'really? Oh shit, really?' But that's part of me and what I want to do, I want to explore stuff. I want to take the voice to the outer realms.
Do you take on board much criticism?
Yes, I take on a lot of criticism. I know what I'm doing isn't going to be everyone's cup of tea. People call me a fucking techno Bob McFerrin or something, and I don't mind because I like Bob McFerrin. What's un-cool about liking that? Just because he's the scat guy. I used to stand up at school and scat sing with jazz bands that my teacher would bring in. I got so much criticism with people coming up to me and going 'doo-ib, doo-wa', and it brought me down. I thought 'fuck you man, just because you don't feel the music'. You're not going to cuss Billie Holiday if she starts scatting are you? Well probably they would because they think 'oh jazz, what's all that fucking nonsense'. I come from a jazz background, even though I never had any formal training. That's what I felt since I was a kiddie. I played the trombone for a long time, played that in a jazz band. I was always into the idea of music being an unwritten thing. It was getting written as we were going through it. I love improvising - that's my buzz, but at the same time improvised music can be a real fucking pain in the arse. It can just be like a fucking noodle.
Do you think the term jazz often conjures up negative associations for people?
Yeah. It's like in the NME, people will write in and say 'Blur, I like their new album' and NME saying, 'what? Even with it's fucking free-jazz fills and the sound of a bicycle pump?' So, what do NME thing about the whole Musique Concrete history? Do they think that's just a load of French geezers fucking around and doing a load of nonsense? Probably. They'll write off a whole history that I won't write off. It's all horses for courses as far as I'm concerned. Ultimately it takes a lot to just believe in what you're doing, and in a way go 'fuck everyone', but at the same time 'what do you reckon?' You've got to be in to yourself completely but at the same time you've got to be checking out people who think it's just bullshit. It's no fun playing to a load of people with their arms crossed going 'ah, bollocks', which does happen - although luckily, recently, not that much - probably because people know a bit more of what to expect now when they come to see what I'm doing. I don't really shock people in that way.
Can you ever see yourself having a chart smash then?
I don't see it as impossible. I've got a voice that I reckon can hold a tune and that makes it feasible. Whether people would feel that what I do is acceptable enough... I'm definitely trying to head in a direction where my songs are more catchy and I'm trying to get away from lyrical content which is like double or triple meaning - everything hidden behind word games. Trying to go for blatancy a little bit more. I notice in Europe, with European audiences everything's lost on them, and that feels like a real shame. You say something to them and it's like 'what are they getting from it?' Absolutely nothing. Direct English is more universal. In that way, I'm obviously thinking with a pop mentality. Bring on the fooking hits! We'll see. That'd be a fucking treat, although the idea of fame is the most ugly thing ever I reckon - the worst thing.
What about those dodgy press shots of you and Cristian Vogel wearing Hawaiian shirts...?
I enjoy all that though - that's fun. At that time it was really exciting. We thought, well... I don't know what we were thinking. We were blatantly trying to do something more accessible, just for a laugh. Turned out not to be accessible at all in the end. Well, a little bit, but only in small circles. I don't write off anything really. Doing the Big Band stuff with Herbert - its really smooth stuff. I'm crooning, you know what I mean, and I love doing it. It's probably the smoothest I'll ever get.
Would you say you've moved away from making the harder dancefloor stuff, like your Sativae and Mosquito releases for example?
I'm going to get a bit of a dirty edge. I've got this body of work that I'm trying to finalise for this Warp album. There's a lot of pressure and I'm really late on delivery. We'll have to see how it plans out. But after that I want to do an album that's really future-style, and possibly really aggro. I need that. I'm doing a little remix of Otto Van Schirach and a remix of some mates of mine, Aeox from Berlin. I really like those guys. That's how I like to work with remixes - with people I feel connected to as people. You think 'I want to do something special for you, because I want to represent you'. I've got a remix for some mates who are part of the label Klang. It's good - the album - but it's not really the sort of stuff I really like. It's a little polite. But I know the girl - she sings in a band and she's always been really cool. There wasn't much money in it, it's just one of those favour jobs. So I just took that as an opportunity to do something pretty nasty. I wouldn't put it past me to do something really hardcore grimy. I'd rather for my next Warp album have no advance - just go 'will you let me do the most fucked-up shit ever and not sell any copies?' Because that's the problem - cutting off the over-indulgent aspects basically. Which I think is probably a good thing for me anyway with my discipline, because I will just indulge in things for my own pleasure.
Cristian's [Vogel] approach to music-making has, at times, been referred to as indulgent. Would you say that's a connecting thread between you both?
Yeah. We are totally man, but I think we both realise we spend too long on the anal detail. I think if we're ever going to get productive again we're going to have to change our approach - try and do things like book a month's session and try to achieve a lot of writing in that time, rather than like, spend two years on an album.
With you based in Berlin and Cristian in Barcelona, have you written any of your joint material through file sharing?
We always come together in the same space. We've not got into that file-sharing thing, but maybe we will. That could be a way forward. I think, half the time it's the lyrics and vocals. If we're doing beats and electronic shit you can just knock it out, but with songs and vocals it takes time - you're committing a lot more of yourself to it I think. I could quite easily just bang out some more future shit with no vocal on it. I'd like to do a couple of EPs for Warp which are just brutal, but decent. I know I'm going to have that bubbling fiery shit after I do an album - just wanting to kind of crunch it up a bit.
What other things do you have in the pipeline? You seem particularly excited about the project with Matthew Herbert...
Yes. Well, I'd hopefully like to do some tours. He's going on tour with that [Matthew Herbert's Big Band], so if he can afford to accommodate my presence then I'd like to represent that a little bit if I can. It's so hard for him to take that shit on the road - it's like a 30-piece band, and not many people can really accommodate that. Sometimes I'm in the same physical space - like playing in Glasgow at that Triptych Festival, and he's going to be there the day before with the band. This year I think Super_Collider's going to be pretty chilled on the recording and live front, so it's mostly going to be me trying to get on with my stuff and Cris his stuff. Cris is kind of sat in the production role now in Barcelona. He's got a studio space where he can record bands, and he's really in to that - doing a really good job. He's expanding his horizons in that way. I think us two going apart in our own ways - burning off in different directions - when we do come back together again it'll be an interesting point. That always happens with us - we rush off in different directions and when we do come back together we've got different scars and different tans.
Are you both involved with the Rise Robots Rise label?
That's Cris and Emma's [Emma Sola from No Future] thing really. There was talk of it in the beginning, but I'm not very good at that kind of thing.
Have you every wanted to run your own label project?
I know what I'm like - although I'm changing a lot, quite rapidly. Just stopping smoking [pot] - getting rid of the veil that's been covering my potential for a long time... I know it's within my capabilities - it's just a question of whether I'm the kind of person that is able to draw people together in a certain way, get the good material. I know the ins and outs of record companies, but no more than I could be arsed to deal with. I've seen how hard it is with Rise Robots Rise. Although we've shifted a fair few units of this record [Raw Digits], the amount of money it has cost to get it out has meant that we're not really going to make any money from it, which is a grim reality.
What was the reaction to the second album? Some people who raved about the first one just didn't seem to get it at all.
It was kind of like what I expected. I think a lot of people were really into the first album and not the second one, and fair enough. The power of opinion in people is really strong and I think people need to have an identity for themselves on a lot of levels - clothes, music, whatever. Some people want it more 'whatever' - they're not happy with it. Some people have levelled criticisms against it which just aren't valid, I think - saying it's not 'structured' or whatever. Some things like that just don't hold, but other things do bite a bit more.
I remember reading some article saying that we'd become like the Style Council. Fair enough, you can have a dig. If you're involved in an area where you're going to get criticism you've got to be able to take it. It's not going to stop me, hearing something like that. There are loads of criticisms I can lay on all sorts of things but I think it just takes too much energy now to try and bother - I just want to try to concentrate on moving on. But at the same time a good bit of reaction is nice, you know. If people get something then you feel it's been worthwhile - of course, that helps you to carry on. If you feel that the consensus is its really fucking rubbish then it is really hard - especially if it's coming from people you respect a lot.
You're in a game that's kind of about egos. We've all got our egos, and as much as you can try and deny it you've got to have a certain amount of that. Mohammad Ali style - self-belief. If you don't believe you're actually good at all, people will feel it and they'll loose confidence in you. That's definitely true when you're on stage - if you suddenly lose confidence in yourself you notice this wave in the audience. Whether you've perceiving it because you're getting paranoid or whatever, you do notice that people are like 'oh, shit, he's lost his confidence'. It extends to everything. I'm on a build at the moment - I've got a clear road now. I've got a new studio that feels really good, got enough money to be okay to continue and get a bit hermitised and get into my music. I've got enough good gigs on the horizon to keep the profile up - it's all lining up. It's what I've been working towards.
What gigs are coming up for you then?
Sonar. The Triptych Festival in Glasgow - that's a real biggie, Grace Jones and some other big names, really cool. To be honest it's a festival in multiple venues - it's not like it's all happening in one spot. I'm sure Grace Jones will get a bigger venue than the pub I'm playing in - well, you know what I mean, I'm playing in some kind of arts school, and I'm happy to be doing that. There's a potential Warp US tour, which should be okay, as long as America still exists. I'm not one to get fucking paranoid, but I reckon America might not be the safest place in the world in the next few months... So there are a few things on the horizon. I like to do little gigs as well - especially in Berlin, when I can. Try to get some things outside Germany and Belgium, where I seem to get most of my gigs. I'm trying to free up some diary space for some heads-down album work.
So, is it going to be a while before you gig in the UK again?
Maybe getting towards August or autumn time, I'll probably get my head out again. It's getting a little rarer - especially with Super_Collider. You won't be seeing any Super_Collider after May. But you never know, I might start up a band or something, if I can hold it down. I'm up for that. I'd like to get a band for my live show. If you've got three people on stage there's so much potential, so much more to look at. There's been some talk of doing some more work with Squarepusher - I met him the other day, and we'll probably do a little more work. I'm going to do an EP with this Prefuse 73 guy. There will be a few collabs on the way hopefully. It's all going man!