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| Fresh word after releasing his first album on Touched Music |
1. How was Monoform formed?
I originally produced under the Transit Massacre moniker
which was more Dub/Dubtech influenced but wanted to move into more
IDM/Electronica sound, but it wasn’t a natural transition in genres so I
started it originally as a side project. Which has now grown into my main output.
which was more Dub/Dubtech influenced but wanted to move into more
IDM/Electronica sound, but it wasn’t a natural transition in genres so I
started it originally as a side project. Which has now grown into my main output.
My interest in electronic music stems from the early Warp releases,
and a club night called Oscillate in Birmingham in the early to mid 90’s
which was run by Bobby Bird and Dave Wheels from The Higher Intelligence
Agency.
and a club night called Oscillate in Birmingham in the early to mid 90’s
which was run by Bobby Bird and Dave Wheels from The Higher Intelligence
Agency.
They had guest artists every alternate week, and I saw
Autechre, A Positive Life, Pentatonik, Freeform and a wealth of other artists
live as well as DJ sets from HIA which showcased the best of underground
electronic music.
Autechre, A Positive Life, Pentatonik, Freeform and a wealth of other artists
live as well as DJ sets from HIA which showcased the best of underground
electronic music.
2. What
does your pseudonym mean?
does your pseudonym mean?
I wanted something simple and as I am a solo producer I
started looking for associated words. “Mono” covering the solo element and
“form” picking up the creation element. I then searched to see if the word Monoform had any
additional meanings, and came across this description “Spatial fragmentation,
repetitive time rhythms, constantly dense bombardment of sound, and lack of
silence or reflective space” – That seemed to fit the brief nicely!
started looking for associated words. “Mono” covering the solo element and
“form” picking up the creation element. I then searched to see if the word Monoform had any
additional meanings, and came across this description “Spatial fragmentation,
repetitive time rhythms, constantly dense bombardment of sound, and lack of
silence or reflective space” – That seemed to fit the brief nicely!
3. Why did you want to release your music on Touched?
Touched is supporting such a fantastic cause and every
single penny raised goes directly to Macmillan Cancer Support – all of the
artists, producers, sleeve designers and mastering guys give their tracks, time
and energy free of charge (and more recently on the releases of Covert and
Covert II completely anonymously). As well as hopefully raising much needed funds for the
charity, to have my music on the same label and compilations as some of my
musical heroes is the icing on the cake…I can’t imagine any other instance where I would
have a track on a compilation album alongside FSoL, Autechre, Plaid etc.
single penny raised goes directly to Macmillan Cancer Support – all of the
artists, producers, sleeve designers and mastering guys give their tracks, time
and energy free of charge (and more recently on the releases of Covert and
Covert II completely anonymously). As well as hopefully raising much needed funds for the
charity, to have my music on the same label and compilations as some of my
musical heroes is the icing on the cake…I can’t imagine any other instance where I would
have a track on a compilation album alongside FSoL, Autechre, Plaid etc.
4. How did you first hear of Touched music?
I was approached my Martin Boulton (owner & creator of
Touched Music) to donate a track to the Touched 3 compilation after he heard one
of my tracks on a Mixlr session run by Room of Wires. After that Martin and I
spoke again as I had a few tracks already penned for “Mea Culpa” which I was
planning to self-release. It was a no-brainer for me to offer them to Touched
in the hopes it would raise more money and awareness for the charity.
Touched Music) to donate a track to the Touched 3 compilation after he heard one
of my tracks on a Mixlr session run by Room of Wires. After that Martin and I
spoke again as I had a few tracks already penned for “Mea Culpa” which I was
planning to self-release. It was a no-brainer for me to offer them to Touched
in the hopes it would raise more money and awareness for the charity.
5. How do you feel about the state of electronic music at
this moment in time?
this moment in time?
I think the beauty of electronic music is it is always
evolving, there’s a constant influx of new artists and producers, but the fact
that artists like Autechre, B12, FSOL, AFX are still making innovative, relevant
music 20-30 years later, and reaching new audiences is proof that the genre is
alive and kicking.
evolving, there’s a constant influx of new artists and producers, but the fact
that artists like Autechre, B12, FSOL, AFX are still making innovative, relevant
music 20-30 years later, and reaching new audiences is proof that the genre is
alive and kicking.
6. When did you start making music and how has it
changed to your current set up?
changed to your current set up?
I studied music at school, and can play piano and the drums,
but I started making electronic music properly in 2012 (using a cracked version
of Reason).
but I started making electronic music properly in 2012 (using a cracked version
of Reason).
These days I use FL Studio as my DAW with various soft
synths and .vst plugins (Alchemy, Reaktor, Kontakt, CamelSpace etc) and on the
hardware side an Arturia Mini Brute 2, and a Maschine Mikro mk 2.
synths and .vst plugins (Alchemy, Reaktor, Kontakt, CamelSpace etc) and on the
hardware side an Arturia Mini Brute 2, and a Maschine Mikro mk 2.
7. Where do you want to be in the future with your
music?
I would like to do more live performances, I have done a few
so far supporting Cloud Boat (R&S Records), FJAAK (Monkeytown Records) and
Soft Revolt (Fields Records), and a few gigs in Manchester for my friend John
Ov3rblast, plus a few DJ sets.
so far supporting Cloud Boat (R&S Records), FJAAK (Monkeytown Records) and
Soft Revolt (Fields Records), and a few gigs in Manchester for my friend John
Ov3rblast, plus a few DJ sets.
8. Tell us about the creating process and the story of
your new album Mea Culpa. What is
the main message of it? Why is it called Mea Culpa?
your new album Mea Culpa. What is
the main message of it? Why is it called Mea Culpa?
It originally started out as a 4 track E.P but grew into 10
tracks, I tried to keep a balance between a soft almost melancholy feel but
with flashes of darker heavier moments . As far as the “Mea Culpa” title…I’d
love to wax lyrical about a hidden meaning, but in reality I just really like
the phrase.
tracks, I tried to keep a balance between a soft almost melancholy feel but
with flashes of darker heavier moments . As far as the “Mea Culpa” title…I’d
love to wax lyrical about a hidden meaning, but in reality I just really like
the phrase.
9. Is there any difference in sound between your new
album and the first release Amateur Electronics?
album and the first release Amateur Electronics?
Not massively, I guess my attention to detail and overall
production has got a little better, although Amateur Electronics is less
delicate sounding to Mea Culpa.
production has got a little better, although Amateur Electronics is less
delicate sounding to Mea Culpa.
10. What sound are you looking for and want to achieve
in the project?
in the project?
I wanted to create an album that you could listen to quietly
at home, but with enough punch to hold it’s own in a live performance. The
beauty of IDM is that you can really experiment with sounds so a track starts
of on one path, but often the end result is completely different to the
original concept. This give you quite a lot of freedom to evolve your sound. If
I was making Mea Culpa today, it would probably sound like a completely
different album.
at home, but with enough punch to hold it’s own in a live performance. The
beauty of IDM is that you can really experiment with sounds so a track starts
of on one path, but often the end result is completely different to the
original concept. This give you quite a lot of freedom to evolve your sound. If
I was making Mea Culpa today, it would probably sound like a completely
different album.
11. Tell us what you’re doing besides music?
I work in the telecoms industry which includes a lot of
travel, and have a 6 year old son, so I have a limited window of opportunity to
make music – Thankfully you can save as you go along (and I have the project
folder of 80-100 unfinished tracks to show for it)
travel, and have a 6 year old son, so I have a limited window of opportunity to
make music – Thankfully you can save as you go along (and I have the project
folder of 80-100 unfinished tracks to show for it)
12. Tell us about your guest mix prepared for
Data.Wave podcast.
Data.Wave podcast.
I’m lucky enough to have been asked to do quite a few guest
mixes / podcasts over the last few years. I try to build sets that flow, whilst
keeping the listener in a position where they are not quite sure what’s coming
next.
mixes / podcasts over the last few years. I try to build sets that flow, whilst
keeping the listener in a position where they are not quite sure what’s coming
next.
For this mix I have featured some established artists, some unsigned
artist I have met along the way, some of my favourites from previous Touched
releases (and a couple of unreleased Monoform tracks).
artist I have met along the way, some of my favourites from previous Touched
releases (and a couple of unreleased Monoform tracks).
Questions: Ilya Kudrin
