Interview by Erkki Rautio / pHinnWeb
20 April 2002 - Ian Loveday has been there since the halcyon days of British acid house of the late 1980s. As Eon, he creates science fiction movies-sampling electro-inspired trancey techno on Vinyl Solution label, including the album Void Dweller; some of it out on J Saul Kane's (with whom Loveday has collaborated) Electron Industries label -- the new Eon album will be out on Long Haul Records this summer.
As Minimal Man Ian Loveday has produced several tracks together with Peter "Baby" Ford (whose 'Oochy Koochy' is considered an acid house classic), also for Ford's own Trelik label. With another big name from acid days, Mark Moore of S'Xpress fame (everyone remembers 'Theme From S'Express'), he has produced house tracks. And that's not all as far as Ian Loveday projects go: there are also Tan Ru and R. Rash.
Such over-used epithets as "veteran" and "legend" would be too easy to apply here, but we have to admit we were a bit excited, when Ian Loveday agreed to share some words with pHinnWeb.
- So what's now happening in the life of Ian Loveday?
I've been busy working on the Eon album, which is just finished, so haven't had much time for fun or partying; hope to rectify that soon.
- How did you start to make music?
When I was 12 I took apart a toy electronic organ and messed around with the circuitry until it made freaky space noises; from then on I was hooked on electronic music. In 1987 I made my first track ('Cuban Jakkin' on Baad Records) using a tape loop suspended by a coathanger, a Roland 101 and an old drumbox.
- How would you describe your style of music?
I don't really like classifications as the meanings always change, but I guess it would be electronic tech/electro/abstract/house/beats.
- What kind of equipment you create your music with?
Mostly classic Roland, i.e. 101/202/303/727/808/909 plus some vintage keyboards and samplers/FX. I am really into analogue, so I generally don't use any plug-ins/emulators for sound origination. Also any samples used are always from analogue source, not CD.
- Are there any role models or influential artists for you?
Main ones are Giorgio Moroder, Patrick Cowley, Cerrone, Patrick Adams, Larry Levan, Derrick May, George Martin, Leon Theremin, Robert Moog and of course Kraftwerk.
- You've been working with some people, who could even be called some sort of legendary figures in electronic dance music. For example, how did your co-operation with J Saul Kane start, and how has it been going on to these days?
I met JSK through Mark Moore (S'Express), when I was DJing at the Mud club; later we both started producing tracks and he introduced me to Vinyl Solution, who signed the first Eon track, 'Light, Colour, Sound'. We worked together on a lot of the early studio tracks; these days we don't often work together as we both have our own studios and have developed different production styles.
- And how about with Peter "Baby" Ford?
I met Peter, when he brought a dub plate of 'Oochy Koochy' to Heaven, when I was DJing. Later we started collaborating on mixes and writing tracks together; this led to the birth of Minimal Man. These days I put out a lot of tracks on Peter's Trelik label.
- You wear many hats with your musical aliases. What do you think are the main differences between all your projects (Eon, Minimal Man, Tan Ru, R. Rash), as far as the production, sounds, etc. go?
Well, basically I decide what name I will use after a track is finished. The main ones are Eon for electro/techno, Tan Ru for tech-house and Minimal man for collaborations with Peter Ford.
- Have you done any live performances?
Yes. Early on I found the technology restricting, but more recently I've started doing live sets using real-time MIDI controllers. So far I've played in London, Glasgow, Spain, Germany and Switzerland. The audience reaction is usually excellent. I am playing a live set at Fabric on July 13, 2002.
- After quite a long career, it seems you have a lot of insight and first-hand experience on how "the scene" has developed since the acid house days. Do you have any sort idea about the future direction of electronic music and scene?
Since the early days so many different scenes have emerged, each with their own style and sound, each growing & developing individually; all fuelled by the ability of anyone to create their own music without the need for expensive studios, producers or equipment.
- Your favourite question they never ask in interviews?
Would you like a drink?
Copyright © (for the text) pHinnWeb 2002.