After a 5-year-long hiatus, Stereo Cube returns with a renewed creative force.
Characterised by the sounds of a 2016 Soundcloud, post-IDM landscape, Stereo Cube draws inspiration from the producers and artists that shaped his early years. Notes of Mr. Bill, Tennyson, Koan Sound, and Virtual Riot seep through in each production, with a fresh take on the sounds that have inspired him since the project’s inception a decade ago.
In this interview, Stereo Cube reflects on the intricate balance between algorithmic creativity and analog warmth, revealing how generative techniques and a custom Eurorack system shape his unique sound. Discussing the influence of retro-futurism, he explains his vision of a high-tech yet nostalgic future.
He also shares insights on revisiting unreleased tracks from years past, re-evaluating his London audience, and how his latest EP finds a home with Bristol-based Duckland. Touching on the unpredictability of live modular performances, he explores the evolving UK electronic scene, his Gemi alias, and his renewed passion for sound exploration.
You’ve built a reputation for detailed sound design and complex systems. How do you see the structure of your music reflecting broader patterns or systems found in nature, mathematics, or technology?
The first words that come to mind are “algorithmic” and “generative.” My production style definitely leans toward those approaches rather than natural systems. I enjoy these techniques because they lead to results I might never reach otherwise. By incorporating generative practices that mix randomness with algorithmic elements, I can step back and experience the music as a listener, often sparking fresh, new ideas.
Your work blends analog synths with a custom Eurorack system. Can you explain how working with these machines has influenced your approach to composition? Is there a direct connection between hardware limitations and creative solutions in your music?
While my Eurorack setup is small, having physical control over knobs and levers lets me approach production from a different angle, which really helps with this music. Many sounds in the project come from a combination of the Make Noise 0-Coast and Moog Mother 32, which add a warmth and analog feel that’s hard to achieve solely with VSTs. Linking those two with a sequencer can spark sequences I’d never have imagined.
Some of the upcoming tracks have been unreleased for five years. How has your perspective on these compositions changed over time? Are you adjusting them to fit your current sound or leaving them as they were?
I’ve been busy over the last five years with other projects. My ‘Gemi’ alias has taken center stage, with a more club-focused sound than Stereo Cube ever had. When I was working on “Overlord,” I eventually stepped back due to burnout, something many creatives can relate to. Now, with time passing, I can listen with fresh ears and appreciate the work I did back then. Interestingly, I couldn’t change anything in the projects since I lost all the files, so the whole EP feels like a time capsule from 2019, which I personally love.
In your live performances, how much room do you leave for improvisation with your modular setup? How does the unpredictability of modular systems affect your relationship with the audience during a performance?
I’ve only performed live a few times as Stereo Cube, focusing on live sample manipulation, especially granular synthesis. The Eurorack wasn’t a big part of those performances since it was a later addition, but I modified a Novation Launch Control to grab stems live and manipulate them in real-time. This approach gives the audience a sense of exclusivity—that this version of the set will only be heard in that moment.
You often reference retro-futurism in your aesthetic. How do you conceptualize the future through music production? Is there a tension between embracing new technology and a nostalgic, retro vision of the future?
Retro-futurism helps ground the future in a comforting, familiar vision. I see it as looking ahead through a lens that combines optimism with nostalgia—a future that’s both high-tech and a bit clunky, like the analog interfaces in classic sci-fi. My use of generative and algorithmic techniques feels like an homage to the grand computer systems you’d see in films like 2001: A Space Odyssey or Alien. I’d say there’s little tension between embracing forward-thinking technology and a nostalgic aesthetic; I’m still looking to the future but with a respect for the past.
London has a rich electronic music scene. How do you feel your sound fits into this landscape, and do you see yourself as part of a particular movement or as an outsider?
I’ve actually never seen London as a big hub for this style of music. My main audiences for Stereo Cube are more in the US or Australia. I love the UK scene, which is why I created my Gemi project, but for this music, I’ve always found more interest online and from overseas. I’d love to grow the sound here, especially with artists like Iglooghost and Two Shell gaining momentum. Since Covid, the UK’s electronic music landscape has shifted, so perhaps there’s more space now for this kind of music.
The upcoming EP marks your first release on Duckland. What drew you to this label, and how does it align with your vision for this collection of tracks?
I’ve known the Duckland team for a while. I’ve worked with them on my Gemi project, and it’s always been a great experience. When we discussed this EP, they understood the direction I wanted. The whole process of releasing these tracks has been fantastic, and I’m grateful for their support.
The EP features tracks that have been in the works for half a decade. How do these tracks represent a bridge between your past work and the new directions you’re exploring?
Firstly, it makes me want to dive back into Stereo Cube! I can’t say much about the evolution over the last five years since my last work under this project was pre-Covid in 2020. Listening back, I remember how exciting it can be to make music like this, and any new work going forward would reflect my love for UK club music, which is an exciting prospect.
Overlord is out now on Duckland https://duckland.bandcamp.com/album/overlord