Two and a Half Questions with Access to Arasaka

– Where did the name Access to Arasaka come from, and what does it mean?
::Access To Arasaka, quite directly, came from Netrunner. It was a card game shoot-off of the Cyberpunk 2020 roleplaying game. When attempting to find a name to fit this project, that one leapt out at me. It felt like a call-to-arms for everyone interested in dark futurism, in a way.

– How would you describe your music?
::I don’t entirely know. The style is really just a mixture of every influence I’ve ever had, past and present. As the general idea of this project is a way to describe the future I anticipate, the sounds and styles themselves are an homage to every song that has already taken me there.

– Who are some of your influences?
::Many of my influences seem to be split between the newer IDM and glitch-oriented music (Autechre, Clark, etc), and the electronic music from the 90s (Orbital, Spacetime Continuum, etc). And, as I am unashamed to admit that I’m an 80s child, I am still inspired by Pet Shop Boys, Visage, Depeche Mode, and the like.

– There are some post-apocalyptic references in the titles of your tracks. What is the story behind Oppidan?
::Oppidan was based on a short story I wrote. It has never escaped the draft stage, and probably never will. The story follows a girl and her residency in one of the many street gangs inhabiting a district of several destroyed Chicago blocks. The story itself is more of a character study, yet I tried to create the album as a description of this actual world, and the events that take place within her story.

– How has the exposure of your music changed since you got signed to Tympanik and Spectraliquid?
::It has changed drastically. I was completely weary of putting it out on the internet in the first place. Once I did, to my amazement, people started to listen. And, for some strange reason, like it. As soon as Tympanik and Spectraliquid got a hold of me, the amount of listeners has been growing beyond my expectations. It’s a very strange feeling.

– What is your production setup like? What software do you use?
::At the moment, I’m running mostly hardware. My studio consists of an Alesis Ion, Korg X50, Microkorg, Korg Electribe EA-1, Roland SH-101, and a Sirkut SNB. For sound editing, I use Sound Forge. And for general track construction (as well as a lot of the drum programming), I use FLStudio. I had started my music production on early versions of these programs, and have more or less stuck with them ever since. Must be a comfort thing.

– What are you working on right now?
::I have just finished the next full-length album, which looks as if it shall see the light of day via Tympanik. There will probably be a good two to three weeks away from music after this is all finished, in which I will do nothing but watch Robocop on repeat and eat a Funyun every time he fires his gun. If I don’t die from a Funyun overdose, I’ll get back to work on this rubbish soon.

See also Headphone Commute Review of Oppidan |

2 thoughts on “Two and a Half Questions with Access to Arasaka

  1. very insighful interview! also, another great artist sequencing in fl studio, proves again that the program is only as powerful as the artist that uses it.

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