I’m pretty sure that I have mentioned before that Subdivision Records is my absolute favorite label going right now! They continue to put out music that really tests the limits as well as bringing new and fresh ideas to the scene. One of the guys who really works behind the scenes at Subdivision is Rtopia, who we will refer to primarily as [r] throughout the article (it is what he goes by). This is really only part of our interview because I trimmed down a bunch of stuff that I asked about. I LOVE electronic music, but I am completely unfamiliar with the terminology and the process of creating electronic music. I’m sure [r] was a bit tired of all my freshman questions and mundane assessments, but he was gracious to answer all my questions.
Another problem that you will encounter while you read is the timing of the article. I once again blew my own deadline by a good month or so, and while that is not the worst thing in the world, it does put some answers in a different light. For one, the new Stranger Kings track we discussed is already out and available. I hope that you, the reader, will really dig in and absorb the details here. In addition to creating Subdivision, [r] is also the owner of Monorocket which was originally why I asked to interview him in the first place. There are so many great musicians that are associated with [r] and his company, and we are happy to do our bit part and bring them to you.
If you haven’t checked out Subdivision yet, you really need to. The talent there runs so deep and the music is so much better than the average band that is churned up these days. The last link at the bottom of the page is for The Reckless Ways, one of [r]’s bands that he played in with the Mendez brothers from The Holidays. The link does not have the tunes there quite yet, but save the url and keep checking back because when they are there you will want to snap them up! In addition, we will be featuring [r] in our next issue as well as we expand a bit and talk about other things of importance… outside of music.
Can you give me a bit of info on yourself?
I’ve been bouncing across the time zones for the last 30 years living project by project. I grew up a military brat and my interest in music and recording came from the fact it was the only constant while we moved every two years. I claim the east coast as my home because my extended family is there and I graduated from high school outside Baltimore. Most of my adventures have been in the southwestern US from TX to southern CA (with a recent two year vacation in the rustbelt).
Is Monorocket your business? Did you start it?
I started Monrocket in 2009, one year after I assumed operations of Livewire Electronics (modular synthesizers).
I’d been involved with modular synthesizers since of 2005 – Mike Brown (Cafe Noire / Electronium) started Livewire that year (2005) and I was already hanging around. I have a background in operations, so it was natural to do that for Livewire and free Mike up to stay creative.
What exactly does Monorocket build?
We make modular synthesizer enclosures (cases). When we started there was only really one company making enclosures to mount and power the modules. The market was practically begging for choices. Modular’s fall into categories based on their format (MOTM, Eurorack, Wiard, Modcan, FracRack, etc). All the modular categories have specific power requirements and connectors that aren’t used by any stock gear you can buy in a big box retailer. We currently specialize in Eurorack, but have done single units in other formats.
Can you give me a history on how you started doing what you do?
I’ve always been into electronics and technology. My dad was in the army and later worked for defense companies. I don’t make a distinction between the cool factor of a wired up custom pedalboard and the intricacies of an electrical harness inside a tank. Between recording, playing live and making sounds, there were all these things to learn but only so much time (or resources) to learn them. When I first started playing I had to choose between passions and focus on one thing. Playing guitar was just a result of the way things happened to sort out. That was a long time ago and the last 5 years are just me finally getting around to everything else 🙂
So for different sounds there are different modules, or more specifically different modules will produce a different desired effect? How does that break down exactly, like how are modules classified?
Modules are classified by their function. We’re combining the fundamental elements of what sound is (waveform, timbre, attack, duration, volume, etc.) to create textures.
So really, with electronics the possibilities become limitless with what you can do with music…
True… and it comes with all the dangers of productivity mutilation as well. It also challenges the definition of what music is. Something that sounds like a broken refrigerator motor, pitched down an octave and drenched in reverb can have the same emotional impact on me as anything else.
If you consider the origins of music – especially the grooves – what probably started in nature has always been influenced by technological progress. It probably started with the heartbeat, then became influenced by walking, hoof beats, gallops, marching, hammering, sawing, steam trains, industrial machinery, all the way to screeching of modems over phone lines. I don’t see any of this as a new phenomenon. There’s probably a good reason why tympani’s sound like distant thunder or string sections sound like breezes or drifting smoke.
The only thing new is that I have all of those possibilities and more mounted in an aluminum camera case.
So when you assumed operations of Livewire, you now produce the modules and with Monorocket you produce the cases… correct?
Correct… Livewire makes a line of synthesizer “modules”
What bands have you played in? I know there was The Reckless Ways, but you are also involved with the Subdivision artists, can you give me a rundown on all of it? Who you played in/with and what you played?
- (1990 – 1991) nowhere close – guitar – This was the band Herb and Wes were in before Raspberry Jam?
- (1992 – 1998) Reckless Ways – guitar – with Mini and Rich Mendez
- (1993) Raspberry Jam – recorded guitar solo “Gotta Love” from Chiro
- (1994) Angel Short – Guitar & production “Sienna” (tracks “Willing”, “Tiny Season” were later used on “Refuse Me” 2000)
- (2000 – 2001) Acoustic Shack – guitar/lap steel – I actually did lap steel on a Fret Buzz track (1993) but that mix didn’t make the CD. I played with the band live for a couple Distant Bell shows and recorded with them on Redeeming the Time (the track “Gloria” was based on a loop from one of my outtakes).
- (2003, 2004, 2007) Sound Gallery – record, mastering, lap steel
- (2005 – 2006) Pushstart Wagon – guitar/lap steel – I was primarily there to be “guitar 2” for LA was our Alamo live shows.
- (2010) Steven and the Starlight – guitar/lap steel – Steve Guiles (Pushstart Wagon) 2nd solo record (guitar 2)
- (2011) Stranger Kings – record, sound design/synthesis, keys, beats
- (2011) Leslie Dupre Grimaud – record, sound design/synthesis, guitar, lap steel
Is Locust the track that is about to come out from Leslie DuPre Grimaud? Anything you can tell us about that?
I think it’s “next” – It’s the most recent one I’ve worked on. I haven’t heard the final mix yet. It could be something completely different when it’s released. All of the tracks I’ve been involved with are a delicate balance between the lyric matter and the music. Up until recently I haven’t had to exercise much restraint. The tracks are already established and my contribution is filling in holes or adding texture to something already there.
When you worked on Leslie’s recording, what does sound design/synthesis entail?
It’s either building sounds on the modular, deep editing on the DAW to create textures or other things, like playing my lap steel with an ebow.
It usually starts with someone saying “we want something that’s kinda like this, but more like that. Once I get my idea of what I think they (Leslie/Andy/Herb) want, I audition the sound and they ask for changes until it fits.
If I’m working with something other than a guitar, I always try to keep my hands a couple of the parameters and tweak them while the patch does its thing. Subtle variation makes the synthesizer as interesting as any “organic” instrument, especially with repetitious elements like drum sounds.
I’ve done two tracks where the electronic drum sounds were done entirely on the modular (no drum machine). Just started with a sine wave and took it from there.
What about with Stranger Kings – Is there a working title on the upcoming track release, is it similar musically to what they have been releasing, etc.?
The newer tracks will probably change what you thought you heard on what’s already released. Besides doing the actual recording, they’ve also tapped on me for editing and sound design using existing parts. There’s a lot that can be done with reversed guitar washed in reverb. I’m really into what their tracks become after mixdown, when I’ve spent hours of working on single elements. The music is rooted in a decade when music was something mysterious to me. The Stranger Kings sound – to me – is nod of thanks (and respect) to what drove us to create in the first place.
From what I understand the next release will be a full length that includes the singles currently on their Bandcamp site.
Are you also currently working on other material with Subdivision, and if so, what are you doing?
In addition to Leslie and Stranger Kings, I also engineer on Eric Campuzano’s production work.
We began tracking Leslie at my place (Juliet Street) earlier this year. An opportunity for a bigger space came along and we’ve been working in it since May, while putting it together piece by piece. The first night was nothing but the DAW and a mic set up in the live room. It’s a good thing her project keeps justifying the need to pull out more stuff to use.
My initial gig with Stranger Kings was to drive the ProTools rig on two tracks already in progress. It eventually evolved into sound design/editing on those tracks and lately I’ve been involved in their writing process.
Prior to my involvement, they were doing demos and then would start all over again for the final recordings. What we do now is grab the demo work in Ableton Live, which gives us a lot of flexibility for experimenting with the arrangement, A/B’ing different parts in real time etc. Once everything is settled, the tracks will be moved into ProTools and re-recorded, but the original vibe will remain intact.
With all the stuff you have played on and bands you have played with, did The Reckless Ways ever record anything and is available anywhere for purchase?
I don’t think there’s any Reckless Ways available anywhere and that’s mostly my fault. We recorded ourselves between 1994 – 1999 and the recordings are done – I just never finished the mixdowns. These were all done on tape – so there were no stems on a hard drive to handover to someone else for mixdown. This is one of the reasons I’ve avoided being in charge of productions ever since.
There is so much that you are into creatively, have you ever thought about doing your own project and releasing your music as something solo? Like an instrumental project, etc.?
If I could finish something and thought it was interesting enough, I would (laughs).
Seriously – I’m looking at a couple drives worth of stuff that I’ve been recording over the years. I really want to get it finished so I can at least drop a mile marker and move on to the next town. It’ll probably require shutting everything down for a couple of weeks and doing nothing else – I just don’t have that option right now.
Most of my time lately is taken with the Subdivision bands (LDG and Stranger Kings) and Eric Campuzano’s production.
What type of music do you listen to?
I go through obsessive cycles of listening. One week I’m back into a roots music thing (guitars, blues, Texas, Midwest prairie pop, etc), then I’m going through audio books while I’m in the shop or a festival of 80’s brit synth pop. Last week was playlists of recordings/clips/demos of gear that customers the post on soundcloud.
Who is in your cd player/ipod/turntable right now?
John Foxx and the Maths – Interplay
Sonoio – Blue
Massive Attack – Heligoland
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