Matt Willox, the prolific Vancouver British Columbia-based n5MD artist had his start on mp3.com where he debuted the first real Spark track, "Are We Happy People?" It was at this point in his life that he discovered his true sound; to create uniquely mangled yet melodically destructive electronics. Always one to break preconceived notions of music production techniques, Spark manages to reinvent himself with each release by realizing the differences between conventional musical approaches and significantly unique arrangements of sound. Currently working on songs based on thousands of different sounds and rhythms, played by hand, Spark’s relationship with his music is one that is personalized to reflect what is currently happening in his life. By crystallizing new ideas and venturing beyond wandering experimentation, expect to hear a new chapter in Spark’s library of fractured sounds. Have a listen and be changed.

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groovesmag profile

Matt "Spark" Willox has been making electronic music since his teenage years growing up in Edmonton, Alberta, with video game soundtracks, Aphex Twin, and industrial music as formative points for the young artist. His interest in composition took off as he jumped into the analog telephone based BBS scene, grabbing and sharing "mods" with like minded bulletin board users, all of it letting Willox make creative use of classic pattern-sequencer software like Scream Tracker, Fast Tracker and Buzz.

After Willox contributed to the Mazzive Injection tracker demo compilation and issued 3 releases on the MP3.COM site, the n5MD outfit enlisted Spark's work for the label's early compilations, after which his full-length debut The Robotic Girl Next Door. A decidedly warm release, Robotic Girl was entirely rooted in integrating catchy melodic hooks with elements of ambient pads and 8-bit video game flavor.

Spark's latest full-length, Super Robot Battle Deluxe, is very nearly a complete stylistic U-turn, nailing together a relentless set of drill-core, with violent break patterns intersecting and fighting in a raw, dramatic, no-holds barred fashion. According to Willox, personal circumstances in the musician's life led him to leave behind his softer sound for the time being. "I moved [to Vancouver], changed jobs, changed lifestyles, changed friends, changed influences," he says. "I think the desire to do Super Robot came as a result of all that change. Life is dark now, as once life was poppy and happy."

Drawing upon sources as varied as music publication drum loops, acid breaks, and samples from 60's Electric Guitarists, Willox looks beyond the sound itself or its source, digging down to it's utility in a piece, where the data can be mutated as needed. "I'm not too picky with my samples," he says. "I never have a lot, and I reuse samples quite often. I just distort them in different ways: resample 'em, time shift-em, pitchshift em, scratch em, add noise, filter em whatever. Usually, It's not the sample that impresses me, but how gracefully or easily it fucks up."

The albums' adventurous, raw concept can be attributed to wanting a more live, improvisational sound in each track. "Short pattern loops, no automation, lots of triggering, some tricky programming, an d a willingness to record and be satisfied with whatever came out…." Willox says. "I've pretty much said 'fuick it' to sequencing shit to death. I do everything with a 'live' approach now. I create control schemes that remain consistent for every song-volume, parameters, and triggers are all grouped the same everytime. Then I just record what ever I do with it.

When not working a Spark, The artists Vancouver base brings him in contact with the city's significant film and video game operations, which has provided him with the opportunity to publish ambient drone and melodic soundtrack work for The Loop, a film shot and produced in British Columbia

"From a compositional aspect, you get to do a lot more and the listening audiences aern't as judgmental," says Willox. "They're more accepting of what they are hearing because it relates to a picture on a screen . I'd love to do a Sci-fi or horror film soundtrack for someone. Give it a timeless feel using modern sound; something real scary.

"That's the difference between movies of today and of the past-today, they just use whatever is popular to make a score, like the Matrix. Its soundtrack is already dated to the point where you don't even want to hear the fucking songs in the movie ever again."