Ahead of his debut Australian performance as part of the Melbourne Festival, Chinese 8-bit artist SULUMI answers questions in wonderfully broken English from support act, Melbourne’s QUA. Live photo of Qua by LEAH ROBERTSON.

Pounding, chaotic, euphoric. This is what you can expect from a show by China’s Sun Dawei, who has been working under the name Sulumi since 2000. A world-renowned 8-bit artist and lynchpin of his local scene, Dawei first came to prominence through his participation in the 2008 Blip Festival (a kind of Olympics for chiptune and 8-bit artists). He has since founded his own electronic music label, Shanshui Records, and has remixed tracks by the likes of dDamage, USK, Jeans Team, Mochipet and Kid606.

Meanwhile, his interrogator Qua (aka Cornel Wilczek) plans to release a new album by the year’s end, which will see him shift away from the synthy dreamscapes for which he’s renowned. Expect “techno beats, swirling psychedelia and dance-ready electronica”.

The first time I came across your music, it struck me as being very alive and spontaneous. You seem to have overcome a problem I find with a lot of 8-bit artists. It doesn’t sound composed by someone sitting on their couch and physically static. It sounds like music that is written by someone moving, standing up and dancing. Is this what you do? Is movement when writing important to you?
Exactly. My early work was mechanical. I love the feeling when I listen to the music, but I did not have a better understanding of the things behind the music. In 2003, I began to realise that my music should move others and myself. I want to make touching song. With loving dance music more and more, I think I maybe can compose music by moving myself.

Too Late to Die Young (Original Mix) by Sulumi

You have your own label [Shanshui]. Most artists that run their own label say that their main motivation is to create or consolidate a community. Is this the case for your label? Is it a community?
The main motivation of creating a label is my love to [UK-based label] DHR [Digital Hardcore Recordings]. I thought it is a cool thing. I call together the musician around me, include some foreign artist. Starting from the little things, from the friend near me, it was my original intention. We did not have a deeper understanding on music but we pay more attention on the spirit in our music. Spirit is the most important thing, although our music almost didn't have the same style! Now, everyone has his or her own direction, and someone take part in other label. Shanshui has become a symbol.

How important is community in your music making? I’ve always admired how 8-bit artists stick together and create amazing cross-cultural relationships. Do you find this?
I have two communities. One is the community of my life; other is the community of internet. We exchange our experience, and perform together. Their ideas stimulate my brain. I love those things more than the performance of famous artists. There are lots of 8-bit musicians who have their own idea. I think I love 8-bit music because I love the sound of Game Boy. Now I hope I can break the original sound and form. I hope my music can become more mature and have the feeling of melody without melody.

Electronic music is so vast, and there are endless options. How do you cope with all these possible directions you can go? Do you put limitations on yourself when you make music? Is that why 8-bit music is attractive?
Yes, I always have my own destination. From the chaotic IDM to the lo-bit electro techno, I spend about 10 years on the groundwork. I take part in the overseas label and release my EP. Those are my reward for the [past] 10 years. There is no limitation in my music. My 8-bit music is beyond the 8-bit.

I love how the gear I use shapes my music composition. For an example, a song composed on a guitar is very different musically in shape, melody and form compared to something written on my Nintendo DS. Tell us a little about some of your favourite electronic gear you use and how it shapes the way you write and make music.

I start my music way from computer. I bought a lot of instruments. But now I only use my Game Boy and [real-time sound editor] Nanoloop and the computer to compose my music. I think people just put the sound together. We can not change their shape. At last the simple music will appear beside you. The only thing you can do is just enjoying.

I played with Chinese techno artist B6 last year. He said that he often plays at underground dance parties that have thousands of people in Shanghai. He said the underground electronic community is huge. Is this the case for you in Beijing? Is the electronic music community just confined to the bigger cities?
Yes, China is a special country. Compared with Shanghai, Beijing is an unnatural city. Some unnatural music or art made by people, those things matter to each other in many ways. Young people in other cities are too mechanical to understand us. But in my eyes they are unnatural people. In Beijing, if my performance will attract more than 400 people, I will be happy. Most of them are Chinese people.

“My Australian live shows will sound more abundant and still use computer.”

How would you compare the Chinese electronic music scene to other countries you’ve experienced?
The Chinese electronic music scene is still immature. China has massive of problem of much less music scene. I live in an era, which do not need music. People only pay attention on chasing money. This kind of society hide young people's talents. If our society does not have the virtuous circle, Chinese music will develop very slowly.

What is next for Sulumi? Are you tempted to investigate other forms of electronic music?
I want to perfect my performance next. With the music and video in synchronism, I still want to use more effector. I love dark music！

Your live show looks amazing! You have developed and amazing reputation as a live performer in past few years. Did you ever think you’d be playing at an Arts Festival in Australia when you picked up your Game Boy and wrote your first song as Sulumi? What will your Australian live shows be like?
Thanks. When I first time use my Game Boy I feel so excited, and it is just like whole world in my hands. In 2007, I [started to] take part in more and more performance. I don't know what will be happen tomorrow. My Australian live shows will sound more abundant and still use computer.

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Sulumi and Qua will perform at The Toff in Town on October 9 as part of Melbourne Festival. For tickets and more information click here.

Related: Chiptune: Two Game Boys And A Microphone.