Tigersonic with 'Blipcuts'

Smart Musicians Do It on Cassette: ‘Blipcuts’, Glitch Dub Sweets from Tigersonic

in Art/Interview/Latest/Music/Spotlight

The Sunday Tribune spoke to Felix Tigersonic, known for curating industry alternative Meet-Up Smart MIx as well as producing and creating orginal sounds about her new release ‘Blipcuts’ for Linear Obsessional, Richard Sanderson’s adventurous SE London label.

TST: BLIPCUTS – such a great idea. And I love the result.  Straightforward, hard-hitting, glitchy sounds. Twenty tracks each under two minutes. Abstract, restless, sounds on the move. Where did the concept come from?

FT: I submitted a track for a Linear Obsessional compilation release.The parameters for inclusion  were basing it around the  MR James. Ghost story ‘A View from a Hill’, an old fave of mine,and making it exactly 2 minutes long . I love short form, so the idea of a  short tune for a short story was very appealing. I just carried on from there but it was a short tune with a short visual – blip cuts   I was very pleased when Richard Sanderson, the big boss at Linear Obsessional invited me to submit a cassette as he had kickstarted the idea.

Blipcuts displayed with promo merchandising on a stool rescued from the legendary South London music pub, The Grosvenor

TST: Your style is humorous and deep. What kind of music influences your playing. Clearly reggae. Do I hear a touch of Scientist? Who might you cite as artists who have had an affect on your work? 

FT: King Tubby Adrian Sherwood Denis Bovell ADF  I am liking some new people like Space Jesus and shed loads of influences that aren’t music.

TST: How did you come up with the titles?

FT: A lot of the tunes are duets with inanimate objects so those titles were no brainers – others just suggested themselves.

TST: How much to concepts like ‘random’ and ‘feel’ influence how you’ve structured this series of tracks.

FT: Love the whole idea of bypassing the critic by working quick and dirty.

TST: Can you describe your process in making the blip cuts? What software and studio tools do you use? Is it a totally solo project? And how do you decide when a blip cut is finished and ready?

FT: My day job is working in my studio as an audio engineer and producer with non main stream musicians – so I have a fair amount of gear and plugins – I was keen to not get bogged down with kit and work fast and free so al the field recordings and beats and a lot of the tunes were started on imachine in  my phone. Most of the videos were filmed and edited on the phone – it is a 35 min tube journey to the studio on the tube so good use of that and a much better start and end to the day than checking email or socials  for my last few releases i have  collaborated with other musicians and vocalists and MC. So it was liberating  fun to do this as a totally solo project.

TST: If you could play the cassette to anyone, who would it be and why? 

FT: Would have liked to  play the cassette to my big sis who isnt here anymore – she  was a video maker and artist think she would be into it.

TST: I love the nods to film music, and the phrases from machines that make sounds. Does making audio environments for screen drama or games appeal to you? Is it something you’re already doing?

FT: Yes I have done music for documentaries, immersive events a hynobirth CD and had  a track on Gary Oldman’s underground South London film nil by mouth – I would love to do more of this.

TST: Finally, how do you feel about being being on a cassette with the Linear Obsessional stable?

FT: I love what Richard Sanderson is creating a linear obsessional label –  and his live events i think he is really nurturing experimental artists and helping them thrive – i am very proud to have a cassette on this imprint alongside people like you and Matt Armstrong with your bouncy Hammond Hits released in 2018. Some people have even collected them all – the box set!

To listen to Blipcuts, visit Linear Obsessional


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