Since the release of their self-titled debut album in 1997 (and before) Way Out West (Nick Warren and Jody Wisternoff) has been ever-present in the world of dance music (and beyond). In addition to their acclaimed albums and live sets, WOW songs have been included in soundtracks, television shows, and even video games. Ever the diligent workers, when not doing WOW projects, the two can be found playing sets around the globe, doing mixes for the likes of Global Underground, creating innovative sample packs, and generally taking care of business. Their latest album We Love Machine is a sonic treasure-trove for lovers of vintage analogue synths. Nick and Jody were kind enough to permit me an interview to discuss the album, the gear, and the scene.
.
Q: This is the first Way Out West album to be recorded in your own studio. As I believe you’ve said, freedom was the biggest advantage. Conversely, the mixing environment wasn’t quite what you were used to in a full-blown studio, and if something went awry, if was up to you to fix it. Other than the glaring differences, what else was unique about the making of We Love Machine?
.
A: JW – The last 2 WOW albums were mixed in an SSL studio with the help of an engineer, but since then I’ve learned a lot about ITB (in the box) Pro Tools mixing techniques and have done many final mixes for my solo material which I am happy with, so I felt confident enough to carry out the task at home. Robert Babicz who mastered the album gave me some very helpful advice along the way, and after investing in some new outboard equipment and a lot of listening hours I think I achieved my goal. Apart from this, nothing was especially unique apart from the fact that we collected a bunch of old synths and also worked exclusively with a male vocalist Jon Mendelsohn.
.
Q: Given the helical path of your working relationship, had anything changed when you met up in the middle and returned to the studio?
.
A: NW – It always works very well. We have a great understanding and respect for each others ideas and always seem to tread the same path when we work on the next WOW project.
.
A: JW – Not really, because there was never a time when we were not working together. I kicked off my solo career 3 years ago, but this doesn’t mean I put WOW on hold. We would still meet up on a regular basis and get our heads together. The only difference really these days is the ability to work out ideas on the road more efficiently, and bounce stuff back and forth so that when we collaborate in the studio we are more prepared.

Q: Looking at the album as a whole, the first few tracks “We Love Machine” and “One Bright Night” and some of the more ambient tracks interspersed throughout the album represent what I expected to hear on this record. I wasn’t expecting some of the disco in the second half, but quite enjoyed it. Three tracks, to my ears, stand out. “Bodymotion” feels like a nod to the new wave of the 80s. “Future Perfect” and “Ultraviolet” which are my two favorites from the album, feel like two sides of the same coin. Were they written in succession? Can you talk about what you wanted to achieve with those songs?
.
A: JW – Ultraviolet was written way before actually. It was initially called Jupiter, and this is because it was the first track I wrote when we got the classic Jupiter 8 synth. It was always a dream of mine to get one, its such a great synth for those sharp techno style stabs, and we’ve ended up using it all over the album. Despite being over 20 years old, it still seems (more…)