Perturbator

It doesn't work, man.

They're really, really trying so fucking hard to be Perturbator on this record.

And I know they'd worked with Perturbator for...

I think he did stuff on...

There's a song

on Disco 4, yeah.

Yeah, but the production's nowhere near that level.

I think Perturbator has a really healthy sense of his own absurdity.

I

mean, and a good example for what's happened in recent years in both festivals is the wonderful Perturbator.

Now, I believe that there's a huge five-meter column that's part of that production that neither made it on stage at Damnation or Art Tangent.

The Perturbator being the fucking... wonderful party to deal with they were always for the very start we will see what can be managed and won't it was never it was never a fight behind the scenes but I'm right in thinking that that column never went up at Art Tangent or Darnation I assume because the clearance just wasn't there or the time wasn't there to get it in place

That's correct.

The really good thing is everybody will turn around and go, look, this is how big a stage is and this is what a height clearance is.

But, you know, when I first got into synth, it was the fresh, you know, because I was always into the fresh stuff, you know, which I felt was fresh at the time.

Like, you know, Perturbator, Ghost, Carpenter Brute, Laserhawk was one of the first ones I heard, King of the Streets.

Just really good stuff.

Also, I do feel like there's a lot of artists that are really cool.

Like all the artists that I've worked with have been really cool guys.

But the thing is that people tend to go, oh, these guys, you know, are associated with this genre, right? I mean, see, this is why I was always quite careful Because for example, Ariel Zuckerberg was one of the most talented artists I've ever known.

But to me, he's synonymous with Perturbator.

And for my first album, I spoke to Ariel.

I mean, Orbit Culture, for example, they brought in their own.

You get traveling bands or Perturbator, they bring in their own bits and bobs.

So they work with what we've got, and then they bring in theirs 'cause they're touring with it as well.

So it's a sliding scale.

Um, so for my work I listen to a lot of metal and hardcore music.

For Wormhole Club it was a lot of synth wave mixed in there, like dark wave stuff, like Ghost, the synth wave artist, Carpenter Brut, Perturbator, uh, things like that.

And then I would throw on something like Knocked Loose, um, anything, you know, dark and moody, Invers soundtrack music.

Ugh.