What have you done since then? Where did you take it? When were you doing that? Was that 2011-ish? It was a real fun experience to do this crap on a massive, massive soundsystem. That’s literally the end game of all music expression. Is that the biggest show you’ve ever done, Madison Square Garden? Who wouldn’t want to play behind a gauze, mesh thing at MSG and play for 15,000 people your little pipe organ dirge on your crappy keyboard? It sounded insane, and was the greatest way to be an exhibitionist but also not have that weirdness of the silhouette of the lonely person playing onstage doing electronic music. That was a requirement by Sigur Rós to kind of make the opener obfuscated, but for me it was perfect. I guess a lot of performances you are already doing that sort of, even when it wasn’t fog related, like you played at Madison Square Garden behind a sheet, right? I haven’t worked with screens for a while, as a way to bring things back towards the ear. Even though I work with light, it’s about channeling things back towards the primacy of the ear in these types of concert experiences, that there’s so much audio visual kind of encouragement in our society and in our institutions and festivals that I think that there needs to be another path sometimes, which brings things back to the ear because how often do we just listen? Denying sight, denying. For me it’s just a way of cutting off the eyes in some ways. Yeah, there’s some that literally smells like chalk and you’re basically inhaling asbestos. The right type of fog is so important, like there’s a fine line between good fog and bad fog. I was hearing you talking earlier today and yesterday about you need to get the right fog. It depends on the air conditioning systems and the type of machines. It’s like beautiful liquid air and you won’t even notice that it’s so dense you can’t see. There’s different kinds of smoke machines and tonight should be this kind that’s like breathing like a waterfall. I hope that tonight will be the most fog ever. Tonight you’ll be performing in Montréal and there’ll be a bunch of fog I assume in the room. Kind of almost shape-shifter kind of references and things like that. Definitely just like a continuation of my obsession with ether and things that aren’t fully formed or figurative or clear or transparent or easy to understand.
There’s shrill aspects around two and a half K (2-2500 kHz) that I probably would’ve cut out. Why would you have done that differently?
I probably would’ve mastered it a bit differently now. I haven’t heard that song for like four years so it’s kind of like a shock to listen to it. That was a reference, the title’s a reference to a book in the 19th century that I came across about English pea soup fog and these kind of mysteries that happened in the night. That song’s called “In the Fog” and in interviews in the past you’ve mentioned fog. ( music: Tim Hecker – “In the Fog II” / applause)
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