The Vox Mod fingerprint is forensic: Synth-inlaid tracks with sympathetic nervous systems are deposited on polar caps as wave-file test-tube monoliths, which he slices through driving an icebreaker. Porter also drums and plays percussion with Lazer Kitty, Alicia Amiri, Sports, and White China Gold. For this interview, we met and rode the Seattle Great Wheel. Porter had a picnic basket with him, and when we started moving, he broke out battery-powered mini-speakers, a circuit-bent Casio keyboard, Rainier cherries, red wine, Brie, and a pocket-sized Korg Kaossilator dynamic phrase synthesizer. As we rotated and spoke, he proceeded to perform a beat-veined version of Debussy's "Clair De Lune." When we crested, the Korg flickered in the setting sun and caught my eye. I reached to touch it, Porter played, and for a moment, the small piece of electronics wasn't electronic at all. The Korg and I held each other, and I fed it some Brie.
Describe Vox Mod in two words.
Does electronica get a bad rap? It's prone to conjure images of "dude standing there with a laptop. Zzzzzzz." Am I off in my thinking about that? How do you inject activity into your recorded music?
As far as names go, I like "electronica" because it implies a wide range of sounds, while "techno" and "dubstep" are at the forefront of media, and people pigeonhole that shit. Laptops don't bother me; it's all about how you use them. I do appreciate when a laptop producer can get down and do some live programming. Anything to mix it up. But of course I'd say that, because I was raised a drummer; it's in my nature to thrash about and let the electricity of the music flow through me. Motion and energy are crucial to experiences.
Vox Mod is playing the Capitol Hill Block Party tonight at 6:45 pm at the Cha Cha.