The Rrose project was born in 2011 with the release of three EPs and an album on the now defunct Sandwell District label. A veteran producer with an alter ego who lives for atmospheric industrial sound, but whose other discography straddles experimental house and austere piano compositions, Rrose stands in the shadows on stage, going by he and she interchangeably – an implied interrogation of gender norms and artistry.



We spoke to the mysterious producer and live performer in advance of his / her upcoming live event at Liquid Room alongside DJ Nobu for the "Nuit Noire" CD release party on Saturday, November 14th.

Where do you look for inspiration?

I rely on my senses for inspiration - whatever causes them to become confused or surprised, shocked or hypnotized.

Who are your current favorite artists?

I don't like choosing favorites, but I can think of a few recent discoveries: Fran Reed and Sarah Davachi are making wonderful drone-based music. I also like the new album by Laurel Halo on Honest Jon's. With newer music (and especially techno), I generally just choose individual tracks I like. I publish the playlists for all my public mixes - that's the best place to see what new stuff I'm following.

Can you tell us anything about your process for creating your music? Do you have a creative process?

I often start by turning on a sine wave and then shaping it, modulating it until it starts behaving strangely, then I follow its lead. But sometimes I start with a rhythm. I try to build intricate, evolving structures from a few basic building blocks rather than adding more and more sounds or parts. And I spend a lot more time listening to the results than making them.

How do you feel your work has changed over the years? What has changed?

That depends on how far back you go, but I'm not prepared to enter that discussion right now :)

What were you favorite performances / shows of all time?

The 2013 Labyrinth Festival is definitely a highlight. The audience there is so focused and attentive, and the sound is unbeatable. I've also really enjoyed performing the acoustic gong piece "Having Never Written a Note For Percussion" by American composer James Tenney. I performed it at a church in Manhattan and more recently for the Unsound Festival in Krakow.

You've played in Japan before. What are you looking forward to doing in Tokyo when you return?

Unfortunately I won't have any extra time on this trip, but I'm looking forward to eating some delicious Japanese food and sharing some new music with everyone.

If you could change places with any one for one day, who would it be?

A survivor of the apocalypse.