Skrillex breaks a decade of silence to discuss why viral AI tracks can't replicate human connection and how lo-fi beginnings shaped his sound.
In a rare long-form exchange with 032c, Sonny Moore clarifies the distinction between viral algorithms and artistic resonance. To Moore, the value of art is a metric of 'being seen.' While AI can generate engagement, it lacks the reciprocal human wavelength found in the catalogs of Daft Punk or Metallica.
Reflecting on his trajectory from post-hardcore to global dubstep, Moore credits his aesthetic to a 'just go for it' mentality. His early hits weren't the product of high-end studios; 'Bangarang' was tracked on laptop mics. This reliance on imperfect gear forced a character-driven output that polished software can’t simulate.
Now operating as an independent artist post-Atlantic, Moore is focused on physical presence over digital noise. His CONTRA platform in Berlin serves as a rejection of modern hyper-connectivity, prioritizing shared, authentic spaces where the audience is forced to be present.
Despite the massive scale of his 2010 breakthrough, Moore maintains that 'Scary Monsters and Nice Sprites' was a $2,000 marketing effort fueled by natural virality. His current philosophy remains unchanged: if the project doesn't feel authentic, he’d rather 'hang up the boots' than play the machine.