Chuck’s fascination with the machine as an object for generating an artistic product is not just confined to the world of physical art, as he explains:

“With the digitisation of music there are great examples, if you listen to Aphex Twin, Orbital or Underworld, of how you could push things forward. I mean look at Tomato Studios and Underworld in the early 1990s. You had people there doing the graphics and artwork, as well as the music. Through these various parts, they were putting together these totally beautiful, immersive environments. The world of fine art should be very organic, as much as I would imagine Underworld’s studio to be, with the whole artistic package working as one.”

“When Underworld plays live I’m really interested to see them push the music through the computers at the same time as the images are mixed and produced, as if they are playing them as a piece of music.”

Chuck Elliott in conversation with Jake Applebee and Tom Frost of Crack magazine, ahead of the now influential magazine's first issue.