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Interface Interviews

Interview from Side Line Magazine Issue 45 October 2003
by John Sepulveda

Blending the beats of techno, the melodies of synth-pop, and the aggressive edge of industrial, Interface is the creative domain of vocalist/programmer/producer Eric Eldredge. Founded in 1993, the Long Island-based outfit has received numerous acclaim from DJ's, radio stations, promoters, reviewers, and club goers area-wide. I recently sat with NYC's Interface right before their opening performance for The Human League and briefly interviewed them.

SL. How did Interface start?

I. I started working with synths, sequencers, and drum machines as a teenager in the early 90's. All my life I wished to emulate the synthpop, electro, and new wave music of the 80's. My earliest tapes mostly sounded like Kraftwerk. Interface's first EP was in 1993, entitled Electronegativity Alpha. At first it was a studio-only project, but after I left the band Valve, I was joined by the other members of the band for a while. Interface played its first live show in 1997. My brother Evan came to help as live guitarist, keyboardist, and backing singer in early '99 or so. Jonny Retro joined as live keyboardist in the summer of '99 after a few auditions…

SL. The sounds were very interesting on "Angels in Disguise", how did you go about recording them? And what instruments did you use?

I. Well, we all know that the only way to really stand out in this genre is to have your own immediate, recognizable sound. For instance, we all know a VNV Nation remix or song the second we hear it. The same is for Funker Vogt, Wumpscut, 242, etc. A lot of the time in between albums for me was spent moving endless knobs and sliders, trying to find some new, fresh, sounds. A lot of the negative comments about the first album were that it sounded too dated. This album was the first one that I did entirely in the computer environment. Mostly Cubase; and I had a bunch of soft synths as well. I had a lot of different sound sources, both old and new: Juno-106, Poly Six, my XV-5080, my JP-8000, and my beloved AN1X, to name but a few things I had going on. I also found the benefits of mangling sounds in software like Granner X and HALion.

SL. Your sound varies throughout the album, yet holds together with an amazing cohesion, what is your song writing process? What are your musical influences?

I. Songs have a way of coming to me in different ways. I had “Wasted Time” written and arranged within about two hours!! Other songs like “Labyrinth” and “Within Your Reach” were much older. Another example was that “Inside” was written from bunching together a bunch of different ideas that didn't work on their own. I would say I have very different and wide-ranging influences. Definitely Kraftwerk; definitely Depeche Mode; 80's new wave; progressive trance; even a little classical at times. I like to think that diverse influences make for diverse music.

SL. What are your future plans and is there anything you would like to leave our readers with?

I. Right now I'm compiling a 10th anniversary package called This Day and Age. Its a few covers combined with remakes of pre-Artemis Complex material. Some of the tracks will be online in August. I'm also working with Jeff on the “Wasted Time” single, due out in early September. After that, it's my usual “between-album” ritual of changing my studio setup, trying out new synths, and writing new material. I'm also hoping to have a new album out sometime next summer and a single in the spring. As for the readers, keep listening… It may have been 10 years but we're just getting started!


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