DYD: I have always been personally curious about this, so now I’m just going to ask it – how did you come up with the theme for your persona as Sibot? By this I mean the costume adorned with numerous eyes and the trademark hat.
Sibot: I’ve always believed in dressing up for a show. It shows the audience that you mean business, it’s a way of throwing yourself in the deep-end. The eyes thing kind of happened by mistake. I made a shit version of that mask in the real estate agents when Markus gave me a bag full of eyes to make a mask… I used them all. The mask was a refined version.
DYD: You have been utilizing the talents of Toyota for a while now. How did you come up with the idea to work with a VJ in your live shows? I mean you were doing this before big-screen adorned events were a staple in the electronic music world.
Sibot: When I started playing live and I was resampling and creating stuff on stage Fletcher told me he had to explain to a bunch of people what I was doing while I was doing it. I realised I had to show the audience. I started renting cameras and then would utilise any VJ that was around. This wasn’t the greatest because I had to deal with all the different VJs’ material. Out of nowhere, one day, Toyota said to me, “I can do that. Let’s do that, but better.” So we did.
DYD: You have been a early purveyor in regards to music that incorporates the conventional elements of electronic dance music with that of hip-hop. How do you feel now that this style has reached such a genesis on the world stage?
Sibot: It’s cool. During the electro boom it was hell playing live as I had to compete with DJs’ loudness and crowds screaming. They also weren’t that into the ‘trap’ or cross-over sound…. I felt like I sucked for ages. It’s easier now so I’m happy. However, it’s obviously weird seeing a DJ swing between trance and trap.
DYD: Since your Magnet Jam EP, your music has become a lot more, dare I say, coherent and danceable compared to your earlier, very glitch offerings. What was the choice to mould your music into this modified form?
Sibot: This always happens to producers who play out a lot. Playing out and making people dance is a tough job to do with your own music … you have to deal with a lot of insecurities. I’m still learning. I’ll hopefully have a long meandering life in music influenced by experiences in studio and on stage.
DYD: You recently released a new EP, Arc Eyes via Red Bull Music Studio Cape Town, tell us about it. What was your mindset and influences when creating it?
Sibot: I was offered the opportunity to put out an EP supported by a billboard. The only problem was being given two weeks to do it. I had a lot of tracks in the making and spent the two weeks grinding on finishing them. It was stressful but I was grateful for the pressure. I like ridiculous deadlines.
DYD: With your release of Arc Eyes, how have you changed your live performance in reflection of this EP?
Sibot: It’s added a bit of dynamics to the show and Toyota and I are working on using the mic more together. Other than that not much, my live set is like a herb garden, constantly growing, tracks getting pulled, new ones added, old ones defined, so it’s always changing.
DYD: Your music is very far from the conventional, how do you go about convincing local crowds that are perhaps more akin to the more conventional stylings of electro house and drum & bass that it’s OK to dance with Sibot?
Sibot: First thing to do is win them over with something live like a finger drumming at the front of the stage. Then it’s a gentle process of guiding them into the fog. Making them think it’s what they want.
DYD: The local electronic scene is filled with immeasurably great artists all hailing from Cape Town; tell us, why do you believe the Mother City is such a prominent breeding ground for talent?
Sibot: Cause you don’t need a job. Ha ha jokes. I’m not sure that it is. I think it’s really small so it’s concentrated. The scene is small but there’s a lot of crossover stuff happening. I think there’s loads of shit being made all over the country, we just don’t get to hear it.
DYD: I feel that a personal motivating factor, albeit a superficial one, is that I want to create music to leave a legacy. To be able to materialize something in this life that lastingly affects people. Would you say legacy is a motivating factor for you?
Sibot: I believe in a digital tombstone if that’s what you mean. I like the idea of leaving all this music behind. I want to leave it in chronological order so you can scroll through my life’s work. I’m starting to work on my discography and release it. Should update it every five years.
DYD: I have always felt that there is a plague of unoriginality amongst South African artists, a fear to be starkly original in the face of all conventional pressure. Luckily, this wall seems to be crumbling a little every month. Being such a timeless purveyor of unflinching originality how do you feel about the general creative quality of music that local artists are creating today?
Sibot: People often rely too much on influences and technique…. they bring sand to the beach. There are little pockets of interesting things happening but very few people are pushing the envelope. People are definitely scared to be different and those trying to be different sound dumb.
DYD: Lastly, is there anything you want to say to those reading this piece?
Sibot: Thank you for taking the time to read my interview in this 1:00 minute world. I really do appreciate it. I love to make music and always will. All I ask is for you to share the music you find. We all just want 1:00 here and there.