Rude Audio and Dan Wainwright

Today we welcome Rude Audio (aka Mark Ratcliff) and Dan Wainwright  to DMCWORLD Mag ahead of their new LP release “Psychedelic Science”, we wanted to pick their brains and find out a little bit more about what’s making them move.


Can you describe the key elements that have shaped your creative process and how they’ve contributed to the development of your signature sound?

D – I like to combine styles that aren’t traditionally put together – and in the process hopefully create something unique.
M – Dubby, chunky, electronic, indie, second line business. Jamaica via New Orleans and early 90s dancefloors.

In a world saturated with electronic music, what do you think sets your music apart, and how do you keep your audience engaged and immersed during your sets?

D – I currently play psychedelic folk – manifest as ukulele improvisations, inspired by The Grateful Dead’s music.
M – I think of what I do as electronic music with an analogue heart – I like bleeps and twangs. Just played at Weatherall’s 60th in Todmorden at The Golden Lion, where I mixed a Spatial Awareness remix into Neil Young’s Walk On. Electronic + dub bassline + blistering guitars, what’s not to love.

Many artists have cited specific places or experiences as sources of inspiration. Can you share a particularly memorable moment or location that had a profound impact on your music?

D – My cousin introduced me to The Beatles by playing I Want You (She’s So Heavy), that was a definitive clouds parting kind of moment.
M – ALFOS at the Drop, circa 2011, hearing low slung arps and bass and lashings of piano, being deployed without shame – I wanted to make records that made me feel like i was on that grimy dancefloor in a Stoke Newington basement.

Collaborations can often lead to unexpected results and artistic growth. Can you talk about a particularly rewarding collaboration you’ve had, and what you learned from the experience?

D – I like working with people I like – obvious but true. With Mark, we complement each other insofar as he can enable stuff I can’t and vice versa. Working with another person makes you see things afresh
M – Well working with Dan has been collaborative – and an eyeopener in two ways…firstly the sheer number of tips that have made working with software so much more accessible…but it’s also been interesting working with a proper intuitive musician, who can produce melodies and basslines at the drop of a hat.

What is your favorite type of space to perform in, and do you adjust your sets to cater to the specific vibes or energy of a given environment?

D – One with people in! My music changes all the time, I don’t consciously think of anything when I am playing, I play how I feel.
M – Favourite space – wooden dancefloor, open sided canvas awning, Funktion 1 system, palm trees/white sand/blue sea/setting sun all close by. I play slower or I play faster – that’s it.

With the rise of AI-generated music and virtual reality experiences, how do you envision the future of electronic music and live performances? Are there any emerging technologies that you’re particularly excited about integrating into your work?

D – It can be used to programme things, so you could use voice commands to work, projects can set up automatically where you tell it what you want and it makes it…you could make your own software and fx on the fly…lots of potential, it’s interesting although personally I am less interested in using it and more interested in playing instruments.
M – AI is already here, to a degree, with things like arps…beyond that, I appreciate it can be a short cut to creative resolutions, as well as a scary tool that mimics, I dunno, Ed Sheeran..but tbh, I don’t think about it too much in a music context, just yet.

Many artists have rituals or routines to get into a creative mindset. Can you share any habits or practices that help you find your artistic “flow” when you’re in the studio?

D – Weed.
M – Coffee, sometimes. Other times I find Dan’s answer resonates.

The journey of an electronic music artist can be fraught with challenges and setbacks. Can you share a moment in your career where you faced significant adversity, and how you overcame it to grow as an artist?

D – I fell out of love with electronic music because the whole scene felt toxic and sterile – I fell back in love with melody and songs, over lockdown, which offered me a lot of opportunities to pursue something I felt was more authentic
M – I made an entire LP on a PC and in the process of mixing it, lost the entire thing. I got a Mac and sat with Owain Lloyd and rebuilt the LP from scratch and in the process learned a ton about engineering, from Mr Lloyd

Electronic music has the power to evoke strong emotions and create connections between people. Can you share a story of how your music has impacted someone, or how a fan’s response has affected you personally?

D – I try not to think too much about things like this, I don’t care if anyone likes my music, I make it because I feel I have to.
M – What’s a fan?

As you continue to push boundaries in your work, what goals or aspirations do you have for the future of your music? Are there any unexplored territories or styles that you’re eager to dive into?

D – More live playing and letting go of control over music…letting go of the notion of free will, music is music, it has nothing to do with me
M – I am crap at speculation. I’ve got an EP on the boil, a bunch of remixes, even some nascent thoughts about a fresh lp…but i am not chomping at the bit to do a hip hop tune, or create a film soundtrack (unlike everyone else who has ever looked at a synth).

What can we expect next from you after the album?

D – I want to start a cult.
M – A nice lie down.