“We love to push equipment past it’s intended use, and Soundtoys plug-ins generate all kinds of unexpected melodic disasters at the extremes.” – Greg Edwards
The band formed in 2001 and have released an EP called Demonstration (2001), and three full-length albums: Future Perfect (2004), Transit Transit (2010), and Pussy’s Dead (2016). Known for their eclectic influences and sonic experimentation, Autolux fuses post punk avant-garde sensibilities, modern electronic sound design, and unique driving drum beats – with beautiful layers of synth and hypnotic guitar arrangements that give an overall cinematic quality to everything they record.
Greg Edwards provided us with some insights on how Soundtoys fits into Autolux’s creative workflow:
“We like to print Soundtoys effects as soon as anything interesting is happening. A lot of times we manipulate the plug-in parameters as the track is printing, so the effect interacts and evolves dynamically with the source in a spontaneous way. The final song might include numerous tracks that have gone through this process two or three times.
During the writing and recording of ‘Soft Scene’ from Pussy’s Dead, I took a simple clean guitar part and ran it through EchoBoy, FilterFreak, and Decapitator until it was an unrecognizable bouncing hook of its former self. Carla used Crystallizer on most of the overdubbed percussion tracks, then tweaked the pitch in real time as she printed to a new track, creating new rhythms and melodies that are essential to the song. On the more boring end of things, I try to see what I can achieve subtly and broadly with FilterFreak first, before getting into any surgical EQ. The judicious use of FilterFreak’s high-pass and low-pass filters can create spatial depth across multiple tracks and help clarify what actually needs to be eq’d.” – Greg Edwards