One of the more interesting things I think Thom said that resonates with this blog:
"It’s a broad question, but how much of a role did dance music play in AMOK? You’ve been on both Boiler Room and Benji B’s Radio 1 show recently Thom, and you were playing footwork records – which to return to the idea of kinetics, is pretty much dance music distilled down to its most kinetic form.
TY: “It’s everything, you know? It’s everything going forward as well – as I said earlier, it was a box, and this is our first response to it but it’s something I want to go deeper into… DJing it, breaking it up even more, and when we next meet up with the band it’s an area where I want to bring more to the table. It’s definitely informed by the best bits – for me, anyway – of dance music. I’m not a wholesale believer in all of it, but the stuff that’s good to me right now… it’s the most interesting stuff that’s happening.”
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NG: “It’s interesting you ask about dance music though. It is the most happening area of popular music right now, it’s forward-looking and it’s inspiring – even if you don’t like all of it. It’s a little universe all of its own. This is something that’s different in that there’s interaction between electronics and acoustics, and there’s vocals – it’s a very rare thing. For me, it’s exciting because I’m a fan of Thom’s voice, and I’m now getting to hear it on something that’s genuinely original – there’s not much else that sounds like this. The possibilities seem endless. A lot of electronic music seems cold, because it’s missing a voice.”
TY: “For me, whenever I’m building anything, whether it’s on a laptop or drum machine or whatever… there’s always a vocal going in the back of my head. It’s almost impossible for me to listen to a dance tune from beginning to end without picturing a voice. I’m a singer, I can’t help it. I’ll listen to Actress tunes and I’m hearing vocals – it’s just me.”"
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