I hear people talk about them with a sense of awe, or romance, like legendary machines from a bygone era. Synths are like screw drivers, hammers, they do a job. Synths are just one way of creating sounds, and it’s sounds that interest me. I’ve made some incredible sounds by scraping concrete across a metal drain cover. Nothing else matters when it comes to sound design. All I care about is, “Can I get a good sound out of this?” I don’t care how they work, whether they’re digital or analogue, any of that tech stuff that so many people can talk about for hours. I have no great expertise when it comes to synths. Can you share with us what machines and techniques you use currently for live performance?Ī fame that’s entirely undeserved I’m ashamed to say. You have a particular fame among synthesizer enthusiasts. I do go to gigs fairly often, but, generally speaking, I don’t have that much to do with music when I’m not in the studio actually making it. I don’t listen to radio, don’t play albums at home, don’t listen in the car. The futuristic label came from the fact that I was using synths and making electronic music at a time when it was very new. I did one album that had a sci-fi theme, back in 1979, but that was about it (give or take one or two other songs), and I’ve made about twenty albums so I’m really not the sci-fi geek that people think. Now that we’re living in the future, how does it feel? Since the beginning of your career you’ve explored themes from science fiction, and your sound was perceived as futuristic.
#GARY NEWMAN DARK NOISE VOL FULL#
Life stretches out ahead of you, full of promise and hope.
Seeing your dreams become a reality is very special. I have all those things now, and I enjoy every aspect of it, but I still envy young people that have yet to make their mark somehow.
The days of sitting home in your bedroom dreaming about having a life in a band, making albums, touring the world. Gary Numan: didn’t have any success with my punk band, unfortunately, but it did get a record deal with Beggars Banquet in the UK and, soon after, I discovered synths and electronic music. Who do you miss from those days, creatively or personally? You’ve survived and continued to make new music when a lot of the artists from that time are gone now. Little Village: Your original success was in the context of punk music in the late 1970s.
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