andrew duke
[cognition, bip-hop, acid fake]


www.bip-hop.com, techno.ca/cognition
andrewduke@canada.com, cognition@techno.ca



1. tell us something about andrew duke and when did he start making music?
 
***I've been a fan of electronic music since 1981 when I bought albums by artists like Kraftwerk and Human League. I started doing tape-deck remixes (using two cassette decks to make a new version of someone else's song) when I was a teenager in the mid-1980s, then in 1987 I moved to Halifax (I grew in a small town about 1 hour outside of Halifax called Great Village) and I started borrowing music gear from friends and recording my own music. Some of my early music was reviewed in Music From The Empty Quarter and Future Music (British magazines) and they said it sounded like "Skinny Puppy on Valium". It was quite dark and industrial-sounding. I recorded to cassette and reel-to-reel. In 1992 I got my first keyboard/sequencer, an Emax II. It was a great piece of gear that I used to record lots of music; I sold it earlier this year, but only because I needed money to buy some new gear. I also have a small recording studio where I've helped other local musicians produce electronic music and I've done remixes there too.
 
2. you have impresive music background... how many albums do u have till now and how many projects did u worked with by now?
 
***I've always been a HUGE music fan. Music is one of my favorite things in this world. Growing up, I would always be listening to the radio and writing my own songs (in my head at that time--because I didn't have any gear back then). I started writing about music in 1981 and have written for magazines all over the world--Canada, the US, the UK, and in Europe. My writing has been translated into many languages--Serbian, Italian, Polish, and French. My first albums--Drowning In Oxygen and Communion--were released on my Cognition Audioworks label in 1993. Ashes and Ceremony was released in 1994, Numeric in 1995, Ginga in 1996, and Sit/Stand: Live Humidity (a double live CD) was released in 2001 (these all came out on Cognition Audioworks). I just released Sprung on Bip-Hop (France; bip-hop.com) and Physical and Mental Health on Folding Cassettes/( )Dial Records (San Francisco California; dialrecords.com). Later this year I will release More Destructive Than Organized on Bake/Staalplaat (The Netherlands; staalplaat.com) and Highest Common Denominator on Piehead (Toronto; pieheadrecords.com). Next year I will release Consumer Versus User on Phthalo (California; phthalo.com) and Second Opinion: Physical and Mental Health Revisited on a label yet to be determined, plus maybe some other albums. There are also some EPs on Cognition Audioworks and lots of compilation appearances and remixes (selected discography on my Cognition website: techno.ca/cognition)
 
3. how did u contacted phillipe and bip-hop for your releasing and r u satisfied with your tretmant on his label
 
***Last year I was really enjoying all of the releases on Bip-Hop (the Bip-Hop Generation compilations and the albums from Tennis, Spaceheads and Max Eastley, and others), so I sent a demo to Philippe Petit at Bip-Hop. He liked the demo, so I sent him some new versions of some of the tracks on the demo plus lots of new material. The result was an exclusive track called "Alphabetic" on Bip-Hop Generation v.5 and the album called Sprung. Philippe is also a big lover of music, plus he has experience from running his Pandemonium label (the label he had before Bip-Hop), so he is doing an excellent job as a label owner and I am very happy with Bip-Hop and glad to be releasing material on the label.
 
4. your sound on new album (sprung) is diferent. from electro berak to glitch and noise. did u have particular concept in making music for this album or it was just more random work?
 
***I had a definite concept. #1: I wanted to make sure my songs sounded different and unique--I didn't want to sound like anyone else who is doing electronic music. I wanted to let people hear my own sound. #2: I wanted to record electronic music differently: I used lots of organic sounds (so the sounds of nature like wind and waves and children talking, plus samples from funk and soul and R & B records I love like Stevie Wonder--did you guess that the break in "Crablike" is from Stevie Wonder's "Superstition"?); I also put the songs together in a cut-and-paste style instead of doing straight sequencing. I would do lots of jamming, maybe playing with and recording one song idea for an hour, and then cutting up the jam and putting the best pieces together. Again, I think this gives the songs a different feel. #3: I didn't want to do an album that sounded like a compilation--just a bunch of songs that are long enough to make an album. I wanted to make an album where every song on the album "made sense"--like putting together a puzzle where every piece is important--and where the flow and the sequencing and the track order took you from one place (the electro feel of "Hell Yeah!"--a track and title inspired by Mantronix, one of my favorite artists from the 80s--to the jackhammer ending of "Ut Ut"). I wanted to make sure there were no "filler" songs on there, that every track was important and necessary to complete the puzzle.
 
5. how will u define and describe your music at all?
 
***People write and say that I have a distinct "sound", but I can't describe what that sound is except to say that it is the "Andrew Duke sound". People can listen to an ambient track or a techno track from me and they say it still sounds like the "Andrew Duke sound", but they (the ambient track and the techno track), of course, don't sound the same. I don't consciously try to have a certain sound, I just make a constant effort to never do the same thing twice; this seems to translate to a certain sound.
 
6. what are your direct and indirect influences in your music and what are u listening mostly this days... number me some artists?
 
***I think I am influenced, at least in some way, by all music I hear--whether it is good music or bad music, rock music, classical music, whatever. There are some producers on the radio I like such as The Neptunes and Timbaland, but I don't think they have any influence on my sound, I just enjoy listening to their productions. I think even in really commercial music or music I don't buy (say, the Backstreet Boys or Destiny's Child, for example) that there is always some little thing about the production that you can learn from. You can learn from things you love as well as things you don't love. Some people like to be "stuck up" or "highbrow" about their music and only listen to some types of music, but I like to be openminded and listen to everything I can. I like to listen to all kinds of music, so I can't name any particular artists. I do a weekly electronic music radio/net show, but I also like some hip hop, some funk, some soul, some R & B, lots of styles of music. Playlists for my show can be found on Cognition (techno.ca/cognition). Lots of artist are doing great things, so it is impossible to name any specific ones.
 
7.canada has huge and developed underground music scene but from other side i think that there r not so much big and popular projects coming out of it. whats going on in it from your perspective?
 
***I think there are some names that people know, like Richie Hawtin, for example, also Skinny Puppy is a big name that has influenced electronic music producers all over the world. I am a fan of a lot of Canadian producers of electronic music--Mitchell Akiyama, Tomas Jirku, Naw, Polmo Polpo, Daniel Lui, I8U, David Kristian, Tim Hecker, Duul_Drv, Ghislain Poirier, Steb Sly, Moonstar, Solvent, Lowfish, Colecovision, jeTprojecTlabs, Alex Pearson, and lots more; the bad part about naming names is that you're bound to forget some people unintentionally (so please don't think this is--in any way--a complete list of the Canadians I like). There are growing music scenes all over Canada--Halifax, Montreal, Toronto, Winnipeg, Calgary, Vancouver--and in the smaller cities, too. I think the Canadian electronic music scene is getting better and better.
 
8. how do you think andrew dukes music differs from other similar experimental/minimal/glitch artists?
 
***That is for other people to judge/decide. I am flattered that people like the music I do, but I can't say what makes my music different than someone else's--maybe because there is only one Mitchell Akiyama, only one Tomas Jirku, only my Andrew Duke, etc? :)
 
out now: "Sprung" album + track on "Bip-Hop Generation v.5"
(Bip-Hop; http://bip-hop.com); live PAs: Montreal: Aug 16
Casa Del Popolo w/ I8U, David Kristian, Naw; Aug 17 CISM;
Aug 20 CKUT; Aug 21 CIBL; Aug 24 SAT w/ Mitchell Akiyama, Battery
Operated, D'Iberville; Ottawa: Aug 22: CHUO; Aug 23: venue tba
 
DISCOGRAPHY (selected):

released on Cognition Audioworks: Sit/Stand: Live Humidity (2001), “09X90” EP (2001), “Erosion” EP (2000), “Orchestral Suite for 707, 727, & Strings” EP (1996), Ginga (1996), Numeric (1995), “RZ Tracks” EP (1995), “Schotoma” EP (1994), Ashes And Ceremony (1994), Drowning
In Oxygen (1993), and Communion (1993).

compilation appearances: Integral Components (Component, USA, 2001), Looping Spork Part 1 (Tuningspork, USA, 2001), NSCAD 2001 (NSCAD, Canada, 2001), Nightwaves Volume 1 (Eleven Wave, Canada, 2000), East (Impulse To Injury, Canada, 1999), Digital Sects Volume 2 (Matrix,
USA, 1996), plus projects released on Surreal Sound (Belgium & The Netherlands, 1995), Enlightenment(UK, 1994), and Cognition Audioworks (Canada, 1993 and 1990).
online: material appears on Tiln (tiln.net, a site which features artists such as Kim Cascone, Richard Chartier, Duul Drv, eM, Pimmon, and others), Reactor Recording (reactor-recording.com), NewMusicCanada.com, and Cognition (techno.ca/cognition)

soundtracks: works have been recorded for and used in theatre and film, as well as in radio advertisements

remixes: a wide variety--both sanctioned and not-so-legitimate--from 1984 to the present


CONTACT

Andrew Duke
1096 Queen St #123
Halifax NS Canada B3H 2R9