David Edwards started making music as Minotaur Shock in 2000, since then he’s racked up three albums, Chiff Chaffs and Willow Warblers, released in 2001 on Melodic, followed by Maritime and Amateur Dramatics, both on the renowned independent 4AD.
He’s also released under his techno alias Principle Participant and composed a score for theatre. His impressive CV is bolstered by a body of work that is almost dizzyingly diverse; from pastoral folktronica to kinetic techno via quasi-ambient soundscapes – and back again. What links these myriad styles is his often abstract take on them, with unexpected structural shifts and a symbiotic relationship between acoustic creating a breadth of sound that draws the listener in on first listen, but reveals their true complexity over time.
This podcast showcases Edwards’ more contemplative side, with shimmering textures and fluent shifts between warm moods and a sense of joyfulness that teeters on the brink of euphoria. We couldn’t think of a better way to get you geared up for Spring.
Listen: Alpha-ville presents Minotaur Shock
Hi David. I’ve got to ask before going any further – why is your project called Minotaur Shock?
“In the heady days before the MP3, Minidiscs were being touted as the new CD. I used to master my tunes onto Minidisc, and you could enter song names and stuff using a quaint little dial thing to select the letters. ‘Minotaur Shock’ was pretty much randomly selected by me turning the dial left and right without really thinking about it. My first demo was called Minotaur Shock Rock. Honestly.”
How did Minotaur Shock come into being?
“I used to play drums in various shoegaze bands at school but when I went off to university I spent loads of time listening to the electronic music that was my first love. I hooked up with a guy who had a heap of electronic equipment and together we made some tunes. Then he gave me an Atari and I spent ages and ages making tunes instead of studying. I got a rubbish degree in a rubbish subject, but I learnt how to use Cubase.”
Who influences you as an artist? Is there a particular moment from your childhood when you knew you wanted to make music?
“When I was doing my music GCSE I was listening to stuff like LFO and The KLF. I couldn’t read or write music but I worked out how to use the sequencer on my Yamaha keyboard to make very basic dance music. This kind of made me realise that making a tune from beginning to end, with no one else, was pretty easy. In terms of influences, I guess the main influences on me were the early Warp records, then shoegaze stuff like Slowdive, then Portishead and DJ Shadow, followed by a bunch of post-rock, then I got into Can, Steve Reich, Moondog etc, then I indulged my love of Todd Rundgren, Fleetwood Mac and Steely Dan and then back to electronic stuff via some Morricone.”
What were you trying to achieve with the podcast? Why these records?
“With this podcast I was trying to include music that is quite hypnotic – I have a pretty short attention span, so my own music tends to be a bit all-over-the-place in terms of structure. I’m constantly impressed by people who can make something simple and repetitive without being boring. I’m not used to making mixtapes that have neither loads of beats or old dusty records on them, so it was quite nice for me to concentrate on the type of music I listen to most; which is generally reflective and warm.”
“I’m pretty obsessed with the idea of bringing warmth into electronic music”
Your own productions are stylistically diverse, ranging from evocative folktronica, jazzy motifs right up to more synthethised, techno records – what’s behind this switching of styles?
“I guess it’s down to my short attention span and a lack of confidence. I would love to make music that is stylistically very similar, but if I’m making something upbeat and electronic then I start to worry that I should perhaps get an acoustic guitar on it or make something mellow. I think that I tend to be too concerned about maintaining a variety, and maybe I should just follow my nose once in a while. Wow, this has turned into a counselling session.”
You use both acoustic instruments and electronic – what is it about bringing these two elements together that interests you?
“It’s just something I’ve always done. I’m pretty obsessed with the idea of bringing warmth into electronic music and I think that adding some acoustic instruments is a quick way to achieve this. I’m yet to find a way to achieve it without relying on nostalgia, samples or acoustic instruments. Can it be done using software that isn’t trying to replicate old synths? I dunno.”
Your compositions seem quite informed by an almost childlike sensibility made abstract, there’s an playfulness that draws you in – is this something you strive for?
“I think that’s also to do with warmth. I love ‘classic’ techno and although on the face of it it’s quite cold and machine-like, a lot of that stuff, like Mr Fingers etc. is actually pretty warm. I think that’s to do with the simple childlike melodies. Aphex Twin is excellent at this – he has a way with melody that is unsurpassed, bringing warmth into quite distant, abstract music.”
“There’s always a car advert that could pay the bills or something.”
Describe, in your own words, the music you make?
“Dadstep.”
What inspires you?
“Loads of things: music; the weather; my friends; my kids. I find speaking to other artists really inspiring – it was great having to contact some of the artists I used on the podcast for permission and finding out that a lot of them already knew my music.”
Any contemporary artists doing it for you at the moment?
“I like Gold Panda, he has a great way with manipulating samples so that they are both abstract and warm. Architeq manages to mix live drums and electronics really well, I think his stuff’s great. I can’t wait for The-Dream’s next album, I find him really inspiring, and the next Erykah Badu album promises to be pretty special. Richard Skelton’s stuff I find ridiculously moving. The latest Autechre is pretty special. I love Untold’s way with rhythm. Oh, and I have no problem at all with Vampire Weekend, I think it’s really well produced. And my toddlers like it.”
You’ve remixed artists such as Bloc Party, Holy Fuck, Super Furry Animals, among others. Do you enjoy reinterpreting other people’s records?
“Sometimes it’s a joy; other times it’s a pain. I find it easier to set myself restraints and rules from the outset. For example with Bloc Party I restricted myself to using only sounds that were in the original record, adding nothing of my own. This forces you to think carefully about making something different with limited tools. Holy Fuck was great fun, I re-played their synth line on an acoustic guitar and then went down an italo disco path. SFA was another fun one, which the band said sounded like Genesis. I took that as a compliment. It can be horrid when you’re stuck with an uninspiring song. I’ve turned in some clunkers in my time.”
What is the biggest challenge emerging artists have to overcome?
“I guess the biggest challenge will be to make money out of music – then again, emerging artists are pretty clued up; I guess they are part of the generation that has only ever known things as they are now. I think its difficult for electronic artists, there is perhaps more of an emphasis on performance than there used to be, and I guess some ‘bedroom’ producers are more comfortable in the studio than onstage/in the booth. It has taken me ages to work out an affordable way of presenting my music onstage in an interesting way, and its only now, after 3 albums, that I’m relaxing into it and enjoying it. Unless you take this into account when making the music I think it’s going to be difficult to base a career on record sales. But what do I know? There’s always a car advert that could pay the bills or something.
“I have nothing but respect for emerging bands that are touring the country in a clapped out van with no tour support – it seems that these bands are doing it for the love of music, which can only be a good thing.”
Any interesting plans that you have lined up?
“I’ve just finished a remix of Gold Panda’s new single, which is out in April, and I’m playing live with Gold Panda, Seams and Dam Mantle in Bristol on 17th April. I’m working on new music, and trying to figure out how to bring more of my live setup into my recordings, using live drums and triggers in the studio more.
“I did a theatre soundtrack last year, which was great fun, and there’s a possibility of scoring a film this year, which would be ace. Other than that, I’m hoping to do some more gigs and let a new album develop organically rather than make it in the studio and then work out how to do it live.”
Louise Brailey
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