For the twenty-nine installment of our interview series, we introduce Rhys Fulber.
Rhys Fulber, a Canadian musician and producer, has carved out a significant place for himself within the industrial and electronic music landscape. His reputation is built upon his pioneering contributions to EBM through his work with Front Line Assembly, his success in the charts with Delerium, and his talent for crafting dramatic melodies in projects like Conjure One. However, Fulber’s influence extends beyond the realms of electronic music; he also occupies a respected position in metal and has lent his production expertise to a variety of other genres. This breadth of experience underscores his versatility and solidifies his standing as a prominent figure in music production.
Fulber’s strength as a producer is evident in his extensive discography and the overall quality of his work, showcasing his talents with production nods for Fear Factory, Paradise Lost, Youth Code, and many others.
Currently, Rhys Fulber is charting new territory with his music, exploring a sound he describes as “Future EBM”. This involves the creation of intricate and hard-hitting musical pieces, which are being released through notable labels such as Sonic Groove, aufnahme+wiedergabe, and his own imprint, FR Recordings.
In 2025, Fulber announced a record deal with Canadian label Artoffact Records, that will be releasing his album ‘Memory Impulse Autonomy’ on September 5th, 2025. Pre order: Bandcamp
We chatted in depth with Fulber about his new album, plus a few more aspects of his career, and it really was a very interesting chat. Read the full interview below.
Hello, it’s a pleasure having you in our interview series, thank you. First of all, how are you and where in the world are you taking this interview?
Hi. Let’s just say I am currently in the Pacific Northwest.
What made you start producing electronic music in the first place?
I was into music at a very early age, starting with mostly punk bands as my father was playing in that scene, but then I heard Pete Shelley’s Homosapien album and it sounded like the future, so I would seek out anything electronic from there on.
Do you have a particular release in mind that has marked a before and after in your career as a music producer?
The record people ask me about most is Demanufacture by Fear Factory. My schedule got much busier after that one.
What differentiates ‘Rhys Fulber’ from your other projects such as Front Line Assembly, Delerium, and Conjure One?
Those other projects all have a defined sound, and the music under my name doesn’t quite fit into any of those. It also made with more of an open concept I guess you could say. There is no game plan really, its just making music freely.
Congratulations for your new LP which will be out in September on Artoffact Records. What’s the concept behind ‘Memory Impulse Autonomy’, and what can we expect to hear from it?
It was sort of a “back to my roots” idea. Also the idea of making music with no plan, and just going on impulse, not worrying about trends or genres.
Listen below, exclusively here, to the premiere of the track ‘ Rhys Fulber – All Of You Go To Heaven‘ to be released with the ‘Memory Impulse Autonomy‘ album on September 5th, 2025 via Artoffact Records / AOF467
Is there any specific equipment or process that you used in the eighties to make music that you still use?
A drum machine driving the internal sequencer of the Sequential Pro One synthesizer is the best example of the old ways.
What was it like for you, with all your experience now, to produce music like the one you did when you started your career as a producer?
Well it is mainly comparable in spirit because the use of a DAW and computer makes it immediately different from the old days. That’s the part I like better about now, the mobility and convenience.
Any particular memories of your roots in making electronic music that inspire you the most to create this LP?
I think the enjoyment of making music with no pressure or agenda. When I started as a teenager it was just because I was into it. There were no real goals or worrying about anything other than having fun making sounds you like. Years of being a professional musician can harden you and beat that basic pleasure out of the process.
What can you tell about the guest artists that appear in the LP, Qual, Barkosina and Konstantin Unwohl?
They are all artists whose music I liked and felt their spirit was somewhat in line with the music I was making, and the results I think confirmed this. I love what they all brought to the record.
Any other upcoming releases already scheduled that you can give us some details about?
Nothing that’s currently scheduled, but I am always busy with various things. Not giving anything away just yet!
To this moment, what would you consider as your most significant achievement in your career as an artist?
Probably not what people that know me for this music would expect, but other than the surreal experience of Delerium’s enduring club anthem, “Silence”, probably working with mega producer David Foster on Josh Groban.
How do you see the future of experimental electronic music, given the drastic changes that the modern era has brought to the music industry and the way it is distributed?
There is so much chaos now it’s impossible to predict, and all I see in the future is more chaos.
Thanks for your time, to close the interview, what’s your opinion on AI (artificial intelligence) and the way it is or can be used to make music?
I am not a fan of AI for anything creative. I think it’s useful for tasks in certain ways, like removing an object from a photo or isolating a sound from a recording but other than that I really don’t like it doubling for someone’s creativity and I actually think most people don’t want this. There will always be people trying to fast track the creative process, and maybe someone will get away with it, but in the end I think what draws people to art is the human experience.
Press photos 1, 2: Rhys Fulber by Wade Comer
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