THE BLACK DOG

Sheffield’s best-known purveyors of ‘listening techno’, The Black Dog hypnotised the electronic world with seminal ’90s albums such as Bytes and Spanners. With the line-up changing from its initial formation, the last two decades have seen founding member Ken Downie joining forces with Martin and Richard Dust, with the trio treating us to a raft of unnervingly esoteric albums since the release of Silenced in 2005.

Away from the music, over the last few years Martin Dust has leaned in on his history in graphic design and reached for his camera to photograph various aesthetically pleasing concrete structures in Sheffield. Initially set to a series of gritty, atmospheric EPs titled Dubs and accompanying booklet Brutal Sheffield, the project was so successful that The Black Dog went one step further to create the more nuanced instrumental album, Music For Photographers.

To what extent did Sheffield’s music scene play into your psyche as budding musicians?

“I’m different to Richard because I’m from the Cabaret Voltaire/Human League era, which had a massive influence on me. When I saw them live I didn’t understand how they were making the noises they were and where it came from. The other part, which sounds trivial but meant a lot as a kid, is that I remember buying two sets of tickets – one for U.K. Subs and another for Orchestral Manoeuvres in the Dark, with Joy Division supporting. I also.”