SOCIAL
INTERVIEWS
Tell me, what motivation do you have when you make your songs?
Most of the time I get a sound or a rhythm in my head and it just nags me until I give in and set in front of my computer and try to bring the sound out of my head. Other times I get an itch to write with no preconceived notions and rifle through my sound library, auditioning sound after sound until I find one that sparks my imagination. There are other things that motivate me like mood-producing something like 'Darkness', was wholly choices made out of this pent up energy.
How did the collaboration with Jane Doe come about?
This was interesting. One day I received two emails with links to download the accapellas for 'Darkness' and 'Please Tell Me What You Want'. The sender of these emails was Jane Doe and no other information was given. I have tried to suss out who did these vocals, but I have not found their creator. The accapellas were of enormous quality so I gave them my best. I hope whoever sent them approves of my work!
“Seven Thousand Seven Hundred Miles” left me with a psychedelic feeling. How did the idea for that song originate?
My girlfriend is in the Philippines with her family for many months and one day I felt this nervous dark energy come over me that I might not see her again. "Seven Thousand Seven Hundred Miles" was born of this emotion. The bassline is ominous, conveying an emptiness I felt. The beat is jittery and portrays my nervous energy. There's a bit in their where the music becomes more energetic with a fighting feeling, but it succumbs to the main theme in the end. This track can seem kind of bleak.
How long did it take you to make the whole EP?
I don't know. I didn't keep track of time. Maybe a month. I usually spit out a track in a week...
What were your main influences?
For this EP? Aphex Twin, Subfocus, others...
What was that moment like when you decided to make music in the world of videogames? Would you create music for that field again?
I was participating with a local group that met up at local coffee shops. In one of the groups I mentioned I produced music and Todd Ryan of Demand Media approached me asking to hear my music. After hearing it, he contracted me to do music and sound design for online titles the company was making. I ended up creating audio assets for a handful of titles. One title ended up taking off, "Belle's beauty Boutique". The music is corny but I enjoy knowing my work is out there.
What do you think of electronic music nowadays?
I'm dismayed by the genrification in EDM. Which category do you fit in? House? Deep house, minimal house, hard house, tech house and on and on...? Its like the scene has OCD and must organize everything and squeeze the creativity out of the music. Being pigeonholed becomes a serious risk. Then there's the whole problem artists encounter when their music doesn't necessarily fit one of the established genres. There's a lot of conformity in todays dance music, which is sad because electronic music is created with tools that have infinite expressive capabilities. I'm on the fringes because I don't do all the things endemic to EDM, so there's a great risk I will fail in the end, but that's ok, because I speak in my true voice.
How is your relationship with the other artists in that environment?
I work with a bunch of other producers and artists. I have relationships with DJs all over the world. Thinking about these relationships, there is one thing I espouse and that is collaboration. I look to my fellow artists for support, ideas and advice.
How was the day you decided to call yourself “Phidippus” and what does it mean?
As I child, there were three things important to me. Music, friends and collecting bugs in jars. My favorite bug was the spider, Phidippus, or jumping spider. When I started my "170" dnb project in 2013, i decided to take on the moniker 'Phidippus' because of the early association with music. Also the jumping spider jumps like drum and bass. At least I jump around a lot when I listen to it. Oh and I wanted people to have difficulty saying it-fid ih puhs.
Phidippus is from Denver, Colorado. He has been creating music for almost all of his life and for the last 30 or so of his 48 years has been making genre bending DNB and bass music. There is no set agenda to his musical style and he is completely unafraid to throw almost anything into the sonic quagmire. We love the punk ethic behind this type of musician, and fully support those who think outside the box when it comes to crossing what can often be quite strict boundaries. This guy has quite a story to tell and reached out to us months ago. What with one thing and another it’s taken quite a while to orchestrate this interview, but we’re really pleased to have him join the hall of fame and to finally hear this guy’s fascinating journey through music.
Phidippus! Welcome in!
Looking up the name ‘Phidippus’, you’ve named yourself after a jumping spider! What’s the idea behind that one?
When I started my drum and bass project back in 2012, I sought out a name for my efforts that would have some vague connection with the music I was hocking. The first drum and bass song I ever heard was an entertaining piece of jump up: Robocop (Taxman Remix). Jump up/jumping spider. It seemed perfect, as I used to catch Phidippus Audax-the daring jumping spider-as a child. So, Phidippus it was. Nobody knows how to spell it either, which is also part of its charm (us included @phiddddupuss!)
So, you started off playing the autoharp as a child. That instrument in itself has quite a story. Even though it was created in the late 1800’s, it looks almost medieval. Of all the instruments a child could choose, why that one?
I didn’t choose it. It chose me. In 3rd grade we had a music teacher who handed out autoharps to us children and encouraged us to play them. I took a shine to the instrument and was quickly playing chord progressions like some sort of savant. The teacher was so impressed she had to ask me if I had ever played the instrument before. I hadn’t. I plan on producing an album of autoharp music set to crushing drum and bass rhythms.
The piano took over in later childhood years and then like many others from that era, you discovered sampled music around 1986. What were the first recordings coming through that caught your attention, and why?
1986 was a big year. The song sampled and demo’d on the Amiga 1000 was Yes’s “Owner of the Lonely Hearts” and it was so cool. I discovered a whole new world of possibilities with that digitization. 1986 was also the year Kraftwerk’s “Electric Café” was released, a recording I would obsess over for years. We can’t forget Harold Faltermeyer’s “Axel F” which was released the previous year…As far back as I can remember, I have sought out instrumental music, preferably stuff with a heavy beat.
The hallowed Amiga was probably the gateway into making digital music for most people at that point. How did you get on with it, and can you tell us a bit about the programmes you used and some of the equipment?
I loved the Amiga. I wish I still had mine. I used Activision’s “The Music Studio” to compose music. With this particular program, you drew notes on a treble and bass clef which would sound when you played the composition. It’s probably how I learned to read music…The Amiga had sound capabilities far ahead of its time: 4X 8-bit PCM channels (2 stereo channels); 28 khz maximum DMA sampling rate with a 70 dB signal to noise ratio. Woo.
You mention moving on to the Ensoniq EPS 16+ sampling workstation. I’m not an expert in digital equipment, but that looks like it might have been pretty revolutionary for the home studio musician in 1990! Tell us a bit more about it.
It was a toss up between the Emu Emax and The Ensoniq EPS 16+ and I chose the Ensoniq because it had more working tracks. Back when I got the Ensoniq (1990) I had 8 tracks to work with plus another 8 for overdubs. I tried to emulate the musicians I listened to back then like 808 State, Orbital and all the industrial bands I enjoyed, but my works were lame. I didn’t make acceptable music until 1997.
That was the year you switched to Macintosh and that really WAS a game changer, right? This was probably also a common story among the digital music making community?
I initially purchased (with credit) a Power Macintosh 7200. When I brought it home I plugged in the speakers and sparks flew. The speakers had shorted and burned out the audio card on the computer. I took the machine back and demanded a replacement. As a replacement, I chose a Power Macintosh 7600 and the purchase was pushed through on my credit line. I would later come to find out I had never been charged for it. Free computer 🙂 I had a plethora of tracks to work with and countless ways of altering the sounds I was working with. I used Logic and was able to record the instrumentation I wanted to within very broad limits. I could make music like my heroes. Finally. My new found confidence led me to release 2 CD Eps, ‘Penitence’ in 1997 and ‘Voluptuous’ in 1998. Penitence was a new-agey, all synth affair while Voluptuous saw me figuring out how to record guitars and drum kits. The title track featured samples by Jane Siberry who saw fit to write me a letter praising my efforts and ‘Deodato’ another track on the EP ended up being played in the offices of Real World, Peter Gabriel’s record label.
We love that story! So, tell us a bit about your production history previous to DNB. You’ve remixed and produced some big name artists in the past, including The B-52s. Tell us all about those experiences.
The B52s were unique to work with. I set about remixing, ‘Funplex’, utilizing the stereo master and EQing it so the lows were cut, the vocals were more prominent and room was made for my instrumentation. I did not work with separations which provided a challenge. When all was said and done I approached The B52s, seeking their approval to publish the remix. I’ve done this with a couple remixes and usually receive a warm reception and also rap artists who I approach simply seeking an accapella of their rap. Styles P, Crooked I, RA Rugged Man are all artists who have lent me their raps. Other remixes I’ve done of lesser known artists have always come about by me approaching and requesting separations.
You’ve also had music licensed by some massive global brands as well. Who were the companies, and how did this process work for you?
Smirnoff was by far the largest company I’ve dealt with on a promotional level. I was commissioned to select music of my own and that of other artists to appear on a series of CDs promoting the Smirnoff brand. Other companies that have licensed my music include The National Geographic Channel, The Travel Channel and the esteemed Anthony Bourdain. Most of these licensing deals were facilitated by Pump Audio who provided a selection of music on hard drives for licensors. The process of licensing my music has been simple up to this point.
Wow. Some solid relationships right there! You have and still do produce various styles of electronic music, so what is it about drum and bass in particular that made you focus mostly on that style under the moniker of ‘Phidippus’?
I have asked that question of myself many times. I like techno, trance and house just fine. There is something about a broken beat that moves me. A broken beat at @170 bpm has a certain feel, a sense of urgency and a flow that can be magnetic. The complexity of this kind of dance music gives it an allure that can be addictive. When I first started putting out music of the drum and bass/jungle variety I set about making a music that was informed by drum and bass but conformed to many styles of music.
Yeah, we’re feeling that exact same sentiment. 2019 was a big year for you in that it saw you start releasing your 170. LPs, as well as music from the ‘Emptyhead’ project. These albums really showcase your own personal take on DNB and show just how far music as an entity can be wrapped around a drum and bass beat and tempo. You are clearly not afraid to experiment. For those with an open ear, your music certainly creates a lot of possibilities. How do you approach making music generally? Is there any set pattern or process?
I think I have the most fun making music when I’m working solely with samples. There’s something fun about auditioning loops and sounds. Producing in this fashion presents its own set of challenges but I think you can achieve a very broadly influenced sound that holds in it possibilities. Not only is it amusing to match samples, but its great to throw audio through the VST blender and see what new noise can be had. I approach every song differently, though. Well, I often start a project the same way. That’s by selecting a bass loop, then matching it with the perfect drum loop. I make bass loops and drum loops and loops, loops and loops. These loops form the basis of much of my music.
It’s impossible to pinpoint any one influence in your music, but in terms of DNB, who do you look to for inspiration and what artists or producers do you listen to regularly at home?
Early drum and bass influences include the old Phunckateck crew, Rareform, Adam F and Goldie. Later influences include Calyx & Teebee, Subfocus, High Contrast and Pendulum. But for the most part I enjoy the work of unknown artists such as Red Math, Hypno Army, bigLARGE and Charlysayz.
BIG NAMES! You’re a boundary pusher with your productions. Of that there is no doubt, and we love that here at INSIDE DNB. Daring to be different is not always a dare, but a reflection of the soul. Are you a boundary pusher in life too?
When I was a kid, I kicked teachers in the shins, in the head. I was a drug dealer when I was older. I dabble in hallucinogens. LSD, psylocin, 2cb, DMT. To be honest I find boundaries to be special challenges and opportunities to devise work-arounds.
You little rebel, you. The most recent 170 LP, 170.5 (which was also released as ‘Ballad’ on Nahual Records) has a sound that sticks slightly closer to the traditional DNB formula, in that it’s maybe more dancefloor friendly. Was that a purposeful move on your behalf?
170.5 was the last in the 170 series of albums. The whole concept behind them was all the music was produced at 170 bpm. So they’d be easy to mix. Oh, and there was a strict attempt on my part to not produce anything stereotypically drum and bass. No reeses, thanks. These albums feature music that was produced way back, as well as newer tracks so there is a disparity in some of the production. 170.5 features much older tracks that weren’t as adventurous as newer concoctions. 170.5 is not my latest album. STEREO COMPONENT SYSTEM is my newest masterpiece, ahem.
Tickly cough? Out of interest, how closely do you follow the global DNB scene? How much of an influence is it on you and the music you make?
My following of the global DNB scene consists of downloading every fappy dnb mix I can get my hands on. I imagine I’m hearing new stuff all the time. From these recordings I glean a great many ideas that I often use in my own productions.
Tell us a bit about some of the things you do away from music then? What other creative pathways do you travel? You have a strong affiliation with the visual arts?
Away from music? (Is there an away?)
I enjoy moonlit strolls on the beach with someone special. I like myself a good video game. I write poetry. I do some video work-I enjoy editing and direct most of my music videos. I do some photography/photoshop. This is a weird one: I study psychiatric medication. You see, I’m crazy…
You said it, dude. And what can we look forward to from you in 2023?
I’ll be releasing the Light and Dark EP. A couple of music videos are in the works. I got a new booking agent so expect to see me playing out more, oh, and I’m getting married!
(Congratulations!!!)