The Wire

Audio

Errorsmith shares a new live set

November 2017

German producer Erik Wiegand talks about his new album and shares a live excerpt from Turin

Madcap synth engineer Errorsmith aka Erik Wiegand has released his fourth studio album, Superlative Fatigue, 13 years after the release of his last solo LP. He’s been busy in the interim, releasing records as part of duos MMM (with Fiedel) and Smith N Hack (with Franck Timm). In 2015 he released a split 12" with Mark Fell via Pan, and he returns to the label for this long awaited album.

Wiegand answered some questions for us over email and sent an exclusive live excerpt recorded at Bunker in Turin on 18 February 2017.

This is your first album in 13 years. Did the process of Superlative Fatigue begin recently, or was it a lengthy one? Did you begin with a concept or did it come together naturally?

After the release of my synthesizer Razor in 2011, I went through sketches I had made with it and selected eight that would fit together on an album. They all had hand-played or sung elements, a dancehall-like pattern and were a little over the top or exaggerated. I promised myself only to work on these tracks and not to get distracted by synth development, which can happen very easily. I wanted to prove I am able to finish music when I work solo. It took me six years.

How has your approach to making an LP changed since you released Errorsmith #1 in 1999?

It is very similar, actually. With my previous albums I developed a synthesizer for each release and made the entire album with it. Same with Superlative Fatigue, only this time I used Razor, which I made also for others to use, not only me, so the synthesizer was less specialised and much further developed this time.

How have your live performances changed in that time? How have you responded to the ways club culture might have shifted?

My live performance only changed on the technical side. I used to play live with a single Reaktor patch, which included synthesizers, simple sequencers and effects. Nowadays I play live with a digital audio workstation and lots of plugged in self-built synthesizers. This is possible now because laptops are faster and have more RAM. I try to ignore general trends within club culture. It’s only important for me to find inspiring dance music and produce my own take on it.

Superlative Fatigue was reviewed in The Wire 406. Subscribers can read the piece via the online archive

Comments

Errorsmith's live set was the absolute standout at Unsound Adelaide - in a line-up filled with extremely high-calibre acts, incl. Amnesia Scanner, Holly Herndon, Pharmakon, etc.

His boundlessly joyful approach to playing with the audience is so organic, so infectious, and so impressive given the highly restricted sonic palette he uses - seemingly just a drum machine and his own synth.

ILY Erik <3 <3 <3

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