The Otherness: an Interview with Luke Slater

Thereafter an association with rave culture and diy culture helped to push Luke toward writing his own music, often using any machines he was able to get a hold of. A sentiment which remains today.

Back to the here and now, Techno seems very different.

New sounds, the sense of ‘celebrity’, the proliferation of online content and clubland ‘culture’. It’s a far stretch from the origins, yet somehow Luke has managed to retain his sense of self and keep grounded throughout it all.

Luke has a lot to consider.

You’ve witnessed several generations of Techno. What aspects of today’s scene excite you most?

“I think there’s always been two types of artists in electronic dance music. Those who DJ, those who DJ but musicianship isn’t their thing and/or not important and they really just want to be famous in whatever way possible. Then there’s those that are writing good music and playing it whilst also being able to wear a DJ hat and do great sets. It’s a rare combo and maybe always was but certain new artists have a calm head on their shoulders – talented, smart and attentive to creating good music first and then following on from that, can play a good set and hold the floor.

That, I love to come across. They are making their own vibe coming off what was before, they’ve done their homework, they have talent and I recognise that relationship between writing and performance. They are the ones who will still be creating in 15 years going on regardless of fame or not. Another improvement is that the sound systems are so good now – compared to the past that it’s great playing on them.”

Has the definition of Techno become broader or more diluted over time?

“The word Techno has been pillaged and thrown around since the start. The original definition of course relates to the original Detroit creations but right now I think the definition still works very well – dark warehouses, clubs, hypnotic, freedom to be. I like to think it’s always represented a way of thinking, a curious future vision, not just a type of music style per se.

For me its always been about the groove: the soul, expression, a story, the otherness, that’s always what i’m trying to capture – escapism to a degree.

When I hang out a bit with other artists , even from way back I can’t think of a time when we have used the word Techno in a conversation and some of them are the creators of it. But we all realise this special world we inhabit in music. Its unique. I’ve always been into music, know a lot of history before House and Techno and listened and learnt. I hope new artists do the same, if you don’t know who Juan Atkins is well, detention and extra homework.

I guess with ‘Planetary People’ a part of me wanted to give a reset nod to Techno, voicing through music. That form of communication means a lot to me.”

Which current trends do you think will still matter ten years from now?

“AI will get absorbed into everything. It won’t even be called AI by then. Simple, straight, uncomplicated dance tracks will be AI’s friend to a Default for better or worse. People will want authenticity and nuance back by then, soul in music. Personality.

In music, AI will eat the mediocre first in terms of creation. However, it can also be a very creative tool.

The growing sense of the need for realness and physical togetherness, understanding, will be bigger. I hope so, thats a good thing. With the ‘Planetary People’ album, the title, I loved the idea of the title in bringing the human element of togetherness around the music at this point in time. I want people to come together around the music. I feel the importance humanising very much at the moment.”

Define what makes a Planetary Assault Systems record different from that under your own name?

“When I put on the Planetary hat it consumes me in a total way. It’s powerful and has a huge past so when writing new material I know it has to be good enough. It’s pretty stringent.

Planetary is influenced by the performances and the clubs and festivals I play. Berghain has been a testing ground for new Planetary tracks for a long time and so it was with this album. The fabulous audience at Berghain have heard some of these new tracks a year ago already as they were developed.

Im having a a lot of good times with Planetary out there at the moment so Luke will have to wait for now.”

What do you make of commercial Techno in the present?

“I don’t really think in those terms, I either like a piece of music or I don’t, simple as that really.”

Your origins have always been in DIY culture, is that still important to you?

“DIY culture was really the only option for me at the start, a bedroom studio before bedroom studios were a thing. I realised quickly that you’ve got to do it yourself when no ones holding a door open for you. Plus I admit I wasn’t big on being told what to do.

I was inspired by some of the Electro Hip Hop artists DIY approach in the 80’s, the way a lot of the tracks were just drum machines really and the beat was the most important thing to revolve around.

I felt being able to create records independently was a powerful thing. To be able to pull it off. You could make your own sound and feel. There was no other options to take, and luckily this coincided with technology moving forward enough to do that at the time. When I started making records I absolutely did not fit into what was mainstream dance music in the UK at the time.

In a way DIY culture is Techno these days. DIY culture is a healthy way of thinking. Other people are seriously important in that but in the beginning I thought that if a painter can be a loner in a room and produce a finished piece then I should be able to do that with music with the right tools. I’m a bit of a loner in that way.”

Is there a track in your catalogue that you feel listeners still haven’t fully understood?

“I’m actually always pleasantly surprised when people come up and mention an obscure track I did and how it hit em in the heart and soul. I can tell it means a lot to them and I appreciate that.”

What currently inspires you outside of music?

“Nature and all things. It’s powerful and unyielding in unforgiving ways. I love the fact we are here but yet all around us is something much more powerful then us – chaotic yet beautiful, unknown and mysterious.

We are always trying to get it understood and filed away yet we always fail, there’s so much we don’t know.

“It’s inspiring to know that you are not in control and when you can feel that there’s other forces at play out there. I love that. I love the potential otherness of everything.”

What’s the most important question people never ask you?

“What’s my favourite cheese?”

What keeps you curious after so many years of producing and performing?

“I truly love doing the gigs. I’m less keen on the travel process and hotels have become second homes but I love playing, creating music to play, the anticipation, the feeling.

Especially the PAS Live shows which are always mutating in some way with gear and ideas.

Other live projects like LSD and LB Dub corp keep me engaged too. I like to be hungry for it. I like to be active.

The gigs inform the production in the studio and visa versa and that pretty much is how its always been for me, can’t do one without the other. I like checking out other people too, discovered a few residents in clubs that were really good, knew how to inform the room leading up to the live show. They played great sets, know their music, you’ve got to know your music.”

What role should Techno play culturally today?

“People always need more Techno in their lives.”

Is hardware still relevant?

“As relevant as you want it to be, for me I still use a lot but I don’t think you need it to to make something good. A good track was never defined by hardware or software but by the mind… But i’m a total gear head unashamedly.”

Your productions often balance functionality for the dancefloor with deeper listening. How conscious is that balance when you’re writing?

“Im 100% conscious of that but it just happens that way. It’s what I feel. When I write a track if I don’t feel like there’s some questions and answers or a message in it then it doesn’t really cut the mustard for me. I’m just making what I want to hear and play really.

Sometimes I’ll have a track that’s too straight, too obvious – and that ends up binned or turned into something else.  I’m not trying to alienate people I just want to take them somewhere magical if I can. I’m thankful in general people almost expect that from me these days, so I have a lot of ground I can cover when I play.”

What next?

“Projects are always on the back burner, some won’t make it to the boiler but some will. Exciting ideas to try and make real. Travelling and playing. And thanks to everyone out there at the gigs and the crews! You’re the best. I love you all.”