Timothy Fairplay is one of the two Asphodells, together with Andrew Wetherall, and also a member of the british crutton Street Axis Studio next to Scott Fraser, Sean Johnston, Richard Fearless and Daniel Avery. He has been involved in the music industry since he was 17, though he was originally in bands, playing the guitar. He studied Philosophy but loves music more.
What was the first record you bought?
Was probably something like a best of Elvis. I was really into rock and roll as a small child.
Are you more into analog gear or computer work? And why is that.
I am more into working with synths and drum machines than just with a computer. I do record to, and mix in a computer so I use both really. I just find it more enjoyable to work that way and I do think it’s easier to make really cool sounds. I used to be a guitarist, so I think I somehow value the more physical aspects of music production: plugging stuff in, turning things up till they distort, feedback.
You seem to focus a lot on the visuals and artwork that accompany your projects. Do you believe a matching visual concept is important for the way the sound comes across?
Yeah totally. I suppose my music is always in my head the soundtrack to something, I never just make a club tune purely to make people dance. The aesthetic is very important to me. I want the artwork to at least allude to what the music expresses. Some people focus on music as an abstract art form. I hate this, sounds are made by physical objects out there in the world.
Which production and/or set are you proud of?
There’s a few things. The Final Reel’ which came out on Bird Scarer is a bit of a favourite because its so expansive, live sounding, and also moves through a number of different moods. The Antoine Rouge ‘Spook Juke’ EP which is out any time now on Crimes of the Future, is another- partly because I feel the four tracks on there just go really well together.
You are in a close working relationship with dance music legend Andrew Weatherall. What’s the one piece of knowledge you have gained from this partnership?
Andrew taught me a lot about arrangement. Ιt was something I always struggled with. With my past being more in song writing, meant my arrangements where a bit verse/chorus/verse/chorus. Andrew taught me about starting a groove and letting it roll.
You’re into the more oddball oeuvre of cinema. Would you welcome the opportunity to compose a film soundtrack?
If you could work on an existing movie, which one would it be?
People generally think I am into horror films, but that’s not explicitly the case. I suppose I like trash cinema and particularly the “place” where the b-movie meets the art house film. I would love to do a movie soundtrack but it would have to be the right film. I would definitely not want to do some awful modern slasher film. I’d love to do a new soundtrack for ‘Shivers’ by David Cronenberg or something like ‘Westworld’ or one of those bleak 70’s/80’s movies like ‘Southern Comfort’ or ‘The Osterman Weekend’.
Interview: Nelly Skoufatoglou
