I've worked with Binker and Moses in various ensembles around the UK for roughly the last 10 years but we all worked in Zara McFarlane's band from 2014 for a couple of years and toured all around the world.
My part in the recording was to provide a bed of sound or an atmosphere that Binker and Moses could then perform and explore on top off/with. I was also able to sample and manipulate audio in realtime during the recording, this was to make sure that the sounds produced weren't static or uninspiring for them and there was an element of interaction between all three of us.
Moses is to blame for me graduating to modular synths and electronic instruments in general. We would often end up sitting next to each other on flights whilst travelling with Zara McFarlane and he would talk to me about new artists/bands that were using computers/synths as part of their live performances. He also mentioned pieces of gear that intrigued me so I started reading up on them and watching YouTube videos of the artists he’d mentioned and demos of the instruments. Then one day he told me he’d got into modular synths and we organised a time to meet up and that was that. My dad is also really in to synths so he was really helpful when it came to getting started building the modular system and other bits and pieces.
I was very conscious not to detract from the sound of Binker and Moses and that I was very much there to compliment them. Taking that in to account I used modules that manipulated and effected sounds from them and the tape machine as that really felt like building on them and their playing rather than forcing something totally new. We agreed as well that there shouldn’t be lots of bass/sub sounds. Binker and Moses also have a very raw sound and so we settled on a lot of clean/pure sounding tones as those sounds complimented them really nicely.