Deadbeat is one Scott Monteith, an adopted Montrealer who has been releasing his own special blend of dub laden, minimal electronics since 2000 for labels such as Cynosure, Intr_version, Revolver, and Scape.

Deadbeat has performed at some of the world's most respected festivals, including Barcelona's Sonar, Berlin's Transmediale, and Montreal's own Mutek. From 1999 to late 2003, Scott worked, assuming various roles, for the Montreal based company Applied Acoustics Systems, makers of the Tassman Software Synthesizer. Having now moved on to pursue his own musical efforts full time, the experience has left him with a passion for the development of new creative interfaces, and a strong grasp of some the most cutting edge technology in the industry.

Whether crafting quirky, not-quite-dancefloor techno, or rumbling digital dub,Scott continually strives to create music that honors the past beyond empty tribute or cultural appropriation, by infusing the digital tools of the present with a little of the magic known as human imperfection. Hindered only by the occasional buffer underrun or synapse misfiring, Scott continues to search for his own unique voice between the ones and zeros.



You’ve been employed for some years in a music software house developing company. Did this experience change your way of create music? And, in case, how?

In many ways my time at Applied Acoustics Systems functioned much like I imagine an undergraduate degree in electro-acoustics or audio engineering does for people who went the University route, in that it allowed me to become familiar with various aspects of synthesis, sound design and audio processing at a very deep level. It also forced me to learn a lot about all the various recording platforms, plugins and hardware intefaces so that I could provide effective technical support for users. Lastly, it lead me to develop some lasting friendships with other aritsts who were in a similar situation at the time like Robert Henke and Joshua Kit Clayton among others so I think it's fair to say it had a very positive effect on my music career in many ways. The only negative aspects of the experience were perhaps losing a bit of that wonderful naive sense of discovery one experiences when approaching new technologies and recording methods for the first time, and the realisation at that time anyway of how conservative and adverse to risk taking the music technology industry can be. i think that has changed quite a bit these days in the software and modular cottage industry as there are some truly weird and wonderful things being developed these days on those fronts that no company 10 or 15  years ago would have ever taken the risk on. Over all though it was a wonderful few years at AAS and I can't thank them enough for the opportunity.

In 2014 you launched a crowdfunding campain to remaster and re-edit Wild Life Documentaries, Something Borrowed e Something Blue. Did you expect to reach almost 7.000 euro from your fans?

Never in my wildest dreams. It was incredibly touching to know so many people cared about those albums enough to contribute and incredibly satisfying to receive the first copies of that giant six record box. It's certainly the release I'm most proud of putting together and quite a beautiful object in it's own right if I do say so myself.

You’ve been involved in several project on learning. Would you leave the music to be focused on it?

I can't imagine a time when I would "leave music" for any reason, however as I and get older and the idea of expanding the family beyond it's current size gets discussed more,  the idea of having to rely on touring to pay the bills almost exclusively gets more and more appealing. I certainly enjoy teaching people about the technical side of things and sharing the experiences I've had so it's very likely that aspect of things will take a larger role as time goes on.

"Walls and Dimensions" is your last release; from an overview to the lyrics and the track titles, can you tell us more about the message you wanted to spread?

There was no specific message per se, the whole album was really a cathartic exercise in trying to rid myself of a lot of personal demons, though it is my hope that the general feelings and notions of loss, frustration, and ultimately hope and renewal are themes that other people might find some connection and solace with in the album. The feedback has been very positive so it seems I was at least some how successful in that pursuit.

Chiara Giannini Guazzugli