Name: Alan Duggan Borges aka The Null Club
Occupation: Guitarist, producer
Nationality: Irish
Current release: The Null Club's debut self-titled EP is out April 4th 2025.

If you enjoyed this The Null Club interview and would like to stay up to date with his music, visit his official website. He is also on bandcamp.



What were some of the musical experiences which planted a seed for your interest in electronic music?

Buying guitar pedals. I loved the idea of being able to manipulate a guitar sound and make it not sound like a guitar.

I think a lot of my life has been leaning further and further into this. I got further away from technical playing of the guitar and more into sound manipulation.

Once I finally got a synth (MS20) it felt so natural to me!

What were some of the recent releases, or performances of electronic music that left a deep impact on you?

There is a track by Kassie Krut called “Reckless” that came out last year. I listen to this one all of the time!



I really love all of the elements of this track.

What kind of musical/sonic materials, and ideas are particularly stimulating for your work right now?

I have spent the last few years getting into synthesis. I think I was quite late to explore this.

I would classify myself as a guitar player – but have always been interested in sound. Exploring analogue synthesis has been very inspiring to me.

Where do most of your inspirations to create come from – rather from internal  impulses or external ones? Which current social / political / ecological or other developments make you feel like you need to respond as an artist?

Internal impulses I think. I just feel that I kind of have to make music. I genuinely think I would get very upset if this was not part of my life. I have basically organised my life around my ability to make music.

I don’t think I have ever had a strong need to respond to social or political ideas in order to make music. I just have to make music.

I of course love art that responds to social and political developments, but for me with regards to inspiration –  it is genuinely an internal drive.

Today, electronic music has an interesting relationship between honouring its roots and exploring the unknown. What does the balance between these two poles look like in your music?

I have a deep love for the sounds of older machines – 909s, Juno 60, KR55, MRK2, MS20. These are all machines which I use in my music. Plugging in analogue gear just sounds exciting to me.

[Read our feature on the Roland Juno-60]

But I love listening to music where it sounds like something is almost broken – like the foundations of the track is fucked. This feels modern to me. So I try to heavily incorporate both of these in my music.

How much potential for something “new” is there still in electronic music? What could this “new” look like?

Yeah, I really do think there is potential for “new”. Of course everything has its roots, but there is so much room for creative ways of thinking about music.

I think if you play people music from the 40s and 50s – musique concrete for example – they still don’t know what to make of it. It doesn’t register as music to a lot of people.

I think with this in mind, music still has a lot of interesting places to go. What that new is I have no idea.



What were some of the recent tools you bought, used, or saw/read about which changed your perspective about production, performing, and making music?

I have been using the Chase Bliss onward pedal a lot for sound design – using it on guitar, vocals, and whole tracks. It’s a very fun one.

Also the mood pedal by chase bliss. I have found this really inspiring for manipulating sounds.