Emerging from a five-year hiatus, London-based electronic music producer Stereo Cube returns with a collection of tracks that have been in development since 2019.
Initially conceived as part of an album project, the tracks on Stereo Cube’s new Overlord EP reflect his creative journey during his late teens. Influenced by the post-IDM SoundCloud era of 2016, Stereo Cube’s sound is shaped by artists like Mr. Bill and Koan Sound, whose approaches to sound design and structure resonate deeply with him. His self-described “syncopated bullshit” encapsulates a complex, layered production style, often involving over 160 tracks in Ableton, resulting in intricate rhythms and textures.
Utilizing both analog synths and custom Eurorack setups, he blends the warmth and unpredictability of hardware with digital precision. Foley recordings further enrich his soundscapes, adding a cinematic quality that enhances the narrative depth of his music. As he prepares for his debut release on Duckland, Stereo Cube reflects on the cathartic process of sharing these long-held tracks, aiming to balance nostalgia with innovation in his evolving artistic expression.
After a lengthy five-year hiatus, how did you find your way back into production? Was there a specific moment or shift that reignited your creativity, or was it more of a gradual return to form?
Funnily enough, these are all songs from the archive that I’ve been toying with releasing for years now—since the hiatus back in 2019. I was actually starting on a whole album project before I took a step back from Stereo Cube initially, but due to various factors, it was never finished. It’s very nice to finally release these tunes. Diving back into this world and rediscovering the sounds of my 18/19-year-old self was a really nice trip down memory lane that helped me get back into the right headspace.
The tagline “syncopated bullshit” seems both playful and somewhat defiant. What’s the story behind that label, and how do you see it encapsulating your approach to rhythm and structure?
The tagline was something I gave myself, admittedly. As the Stereo Cube sound evolved from 2014 to around 2018/2019—when much of this project was made—I became increasingly influenced by IDM and the precise, quantized feel of those tracks. While not strictly IDM in all cases, if you listen to music from Mr. Bill and Tennyson from that period, you’ll hear a similar sound. In short, there’s a lot happening in these tunes, as I would work with tracks that reached 160 layers or more in Ableton. When you start layering so much in such a structured fashion, you inevitably end up with some level of ‘syncopated bullshit.’
Your work is heavily influenced by the post-IDM SoundCloud era of 2016. How do you navigate the tension between embracing nostalgia for that sound and pushing your production techniques forward in 2024?
I grew up in an online world where most of my music friends weren’t in the UK, and SoundCloud was thriving. Since that sound and community were such a big part of my formative years, both musically and personally, it will always influence my work, whether as Stereo Cube or any other artist project. It’s something that stays with you, and I find that comforting in a way. A piece of your past sticks with you, even as you try to push forward and break new ground. This balance between nostalgia and innovation feels natural. My 16-year-old self is always backseat driving to some extent, no matter what I create.
You’ve cited artists like Mr. Bill and Koan Sound as key influences. What is it about their approaches to sound design or structure that resonates with you, and how do you transform those influences into something uniquely your own?
Mr. Bill was a massive influence on the later Stereo Cube sound. I switched from FL Studio to Ableton around 2015/2016, and watching his YouTube tutorials taught me so much about production. It was only natural that I picked up the techniques I saw. Koan Sound has also been a staple for me for over a decade—their bass design and everything surrounding it has always fascinated me. Trying to deconstruct their tracks intrigued me, and you can hear it most in “Celestial Toymaker,” especially in the intro where I experimented with atmospheric glitches. This sound is prevalent in their Polychrome album, which I still listen to regularly.
You describe Ableton as more than just a tool, calling it a “playground.” Could you talk about the creative process behind this statement—how do you use software to generate unexpected results or experiment with sound?
A lot of the sound design in this project comes from me cheekily “faking it”—something I actually love to do—working smarter, not harder, to make things sound more intentional than they might be. I’ve always enjoyed using generative and algorithmic systems in production. By incorporating randomness and probability, I can step back and experience the music more as a listener than a producer. This approach sparks new ideas and leads to inspiration I wouldn’t have otherwise found. For instance, the main chords in “Wonderlust” came from running random MIDI clips through a VST that used simple generative machine learning. It produced a progression I would never have created on my own, but I could tweak it and build around it in new ways.
Your use of analog synths and custom Eurorack setups gives your music a unique character. Do you see the physicality of modular synths as an integral part of your sound, or could you imagine creating similar textures entirely in-the-box?
I definitely could have made this project without the Eurorack, but there’s something about hardware synths that I love. The warmth and randomness you get from them is something you can’t quite replicate with Massive or other VSTs. Across this project, a lot of sounds come from a combination of a Make Noise 0-Coast and a Moog Mother. The overtones of the 0-Coast and the Moog’s filters are unbeatable, so it’s nice to weave them into the final product, even if it doesn’t make much difference to the average listener.
Your tracks feature glistening glitches and intricate time signatures. What draws you to these more complex rhythmic structures, and how do you ensure they remain accessible or danceable for listeners?
I’ll be honest—the idea of making this music danceable was lost a long time ago. For Stereo Cube, I’ve always focused more on creating what I’d call ‘brain candy.’ I love constant movement in the production, with layers and details that keep listeners fully engaged. I avoid repeating things too much; most tracks have three distinct sections that shift in unexpected ways, so you’re always guessing what’s next. This allows me to create something intricate and experimental while still having moments that connect on a visceral level. It might not be dance floor material, but there’s an energy that hopefully keeps listeners immersed.
Foley recordings play a significant role in your soundscapes, lending a cinematic feel to your productions. How do you decide which sounds from the real world make it into your music, and how do they shape the narratives or atmospheres you’re building?
I got into foley back in college nearly ten years ago, and I’ve had a trusty Tascam DR-05 ever since. Over the years, I’ve created a library of recorded sounds to use as unique flairs in my productions. Tying back to my love for generative and random patterns, I enjoy using these sounds in unexpected ways. I’m fascinated by the contrast between organic, natural sounds and how they can be shaped into structured systems that mesh with the music. You can’t beat a trusty bird ambience recorded from my childhood bedroom window at 6 a.m.—it’s come in handy more than you might think!
With your debut release on Duckland approaching, what is it about these unreleased tracks—some of which have been simmering for five years—that feels particularly relevant to release now? How do they reflect your current mindset as an artist?
The release feels almost cathartic. This is all music I’ve been really proud of since creating it, and it felt right to finally put it out into the world after sitting on it for so long. I’m grateful to Duckland for giving me the chance to showcase these songs. Five years is definitely too long a gap for Stereo Cube—I need to get back on the bike and make new music for the project before I forget all my production techniques!
Retro-futurism and old-school sci-fi are key to your aesthetic. How do those influences manifest not just in the sonic textures of your work but also in how you conceive the relationship between sound, technology, and the listener’s experience?
These aesthetics have always been central to me, not just in music. Some of my favorite films include Blade Runner, 2001: A Space Odyssey, and the original Alien; I adore the clunky displays and in-universe computer interfaces in these movies. I’m fascinated by how the past envisions the future, especially in sci-fi and technology from the ‘80s and ‘90s. The Stereo Cube brand has been linked with Windows 95 in the past, using atmospheres that mimic Brian Eno’s famous start-up sound. It’s inevitable that your interests will interlink with your art over time.
Overlord EP is out now on Duckland: https://duckland.bandcamp.com/album/overlord