Interview
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Founder of the leading label Hyperdub, which celebrates its 20th anniversary this year, Steve Goodman contributed to the growth of electronic music and launched artists such as Ikonika and Burial. For “Libé”, the musician and DJ talks about how the label became a real laboratory for the music genre.
This article was published in collaboration with The Night of Sound Festival.
University of Warwick, Wed in the nineties. Steve Goodman, a young PhD student from Scotland, approaches the Cybernetic Culture Research Unit (CCRU), a cybernetic culture research unit co-founded by philosophers Mark Fisher, Sadie Plant and Nick Land. On the cusp of theoretical growth, Goodman is also involved in a thesis on the abusive use of sound (which will lead to a book, Sound war) to the proliferating writings of the collective, between accelerationists and science fiction. A neologism often appears, that of “hyperbelief”, the meaning of which could be summed up as the appearance of a philosophical idea in reality and which our philosophical apostates willingly increase, to summarize their practice, on “theory of hyperstative fiction”. Years later, Goodman would summarize his activities within the CCRU as the art of simulation.
The ones he has been conducting for two decades within the publishing house he founded, Hyperdub, are equally experimental and dissident, but otherwise concrete since Goodman, alias Kode9, participated in profoundly changing electronic music through them. Electronic music whose flagship is Hyperdub, which flourishes on the margins of the most revolutionary genre