London producer Ryan Lee West – the mind behind Rival Consoles – has built a reputation for electronic music that feels deeply human, using synthesisers to create rich, emotive, and immersive sound worlds.

Fresh off a global tour and a sold-out appearance at Dark Mofo, he’s set to return to Australia later this month with Landscape from Memory, a fully realised audiovisual performance of his ninth studio album.

Spanning an eighteen-year career of constant evolution, Landscape from Memory represents the latest step in Rival Console’s ongoing refinement as an artist. It’s a rare opportunity to experience one of the UK’s most respected electronic musicians in a setting designed to be fully absorbed, not just heard.

Rival Consoles will reshape the space into a cinematic, sensory environment, joined by digital artist Sky Ainsbury on live visuals. His idiosyncratic approach to techno, and everything that sits in between, unfolding as a long-form narrative. Many of the ideas and compositions will be heard live for the first time.

Across the two nights, he will also be joined by supported Fia Fiell.

Ahead of the shows, Tone Deaf caught up with Rival Consoles to talk about the ideas behind Landscape from Memory, the role of visual storytelling in his work, and how his sound continues to evolve.

For ticket information, see here.

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Tone Deaf: How did you make your start in music, and how early on did you start recording under the Rival Consoles moniker?

Rival Consoles: I began like a lot of kids in the ’90s by learning guitar and forming bands with friends. Much later I slowly began to make and explore music with computers, which really suited my mind, as I am excited by many things. I’ve been making music as Rival Consoles since 2007 and over the many years I have explored a lot of styles which unconsciously are informed from my initial guitarist perspective.

At the core of your discography is the synthesiser, and you take the sounds it can create to the next level — do you think you’ve hit the ceiling of what this technology can produce, or is there yet another evolution you’re hoping, or aiming, to find?

I have barely touched what is possible, however newness isn’t always aligned with things that move me, so often the most amazing sounds I make don’t make it onto a record because they are meaningless without context. I still feel that I want to be more expressive with synths, which is an almost fundamental desire that many people have – there is something really interesting about observing nature and wanting to distill some of that into synthesis.

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According to Treble, part of recording Landscape From Memory included some relocations and changes to your process — would you say there is a benefit for artists to put themselves out of their comfort zones when recording and songwriting?

For me it’s about concentration and also hearing and thinking differently. If you sketch out an idea on a laptop, sitting on a sofa, it’s almost like sketching on a notepad, there is a lightness and no expectations. I like informal environments and studios with equipment can get in the way of ideas.

Landscape From Memory debuted to rave reviews at Dark Mofo earlier this year — what can audiences expect when it comes to City Recital Hall?

It will include current works and many works over the last ten years. I’m a big fan of intensity and contrast, so the whole set will explore a wide range of ideas with lots of improvisation around themes I have created over the years. My hope for the performance is that it resonates with people and makes them reconsider what electronic music can do.

Part of the show at CRH will be visuals from Sky Ainsbury. What made them stand out to you as a partner for the show?

The visuals include a great amount of improvisation: blending and processing imagery like collage. Sky is very interested in using various techniques and technology ranging from abstract footage of nature, live particle systems and distorted film techniques. These visuals represent how I feel about the music in terms of colour, texture and gesture. As my music doesn’t contain singing and therefore lyrics, it is 2 giant abstract worlds that work together to create meaning.

Who are some of your favourite Australian artists?

Mark Pritchard and King Gizzard and the Lizard Wizard.

You’ve done some work on scoring as well as your own albums, like Black Mirror and Mindseye. Are there any projects or creators in the entertainment space you want to work with?

I would love to work with a Danish game company called Play Dead who make beautiful sad, haunting sci-fi games. I’d also love to try and work with the director Yorgos Lanthimos. His work is sharp and inspiring, and I can imagine exciting possibilities for electronic music.

Click here for ticket details.

RIVAL CONSOLES MELBOURNE 2026

Friday, January 30th
Melbourne Recital Centre, Melbourne VIC
Supported by Fia Fiell

Saturday, January 31st
Melbourne Recital Centre, Melbourne VIC
Supported by Fia Fiell

Friday, February 6th
City Recital Hall, Sydney NSW

Supported by Julien Mier