After 20 years in the business of entertaining the masses with their varied electronica sound and becoming legends in their field, Plaid released a new LP in Scintilli at the end of last year and a sell out show to match. Now to start 2012 they’ve featured as the main attraction for the latest Videocrash event, a night of first-class electronic music with an audiovisual experience to match. Also on the bill that night were Hexstatic and 2012 hot list staples, Breton.

We had a few quick questions concerning their lengthy career and the series of nights that make up Videocrash, which they obliged us in answering. Quick tip for you if you ever get the chance to talk to them, don’t mention IDM. You have been warned.

It’s been 20 years since your first release, you reckon it's gone well since then?

We're certainly happy to still be making music. It hasn't consistently gone well for 20 years but there have been some moments.

You had a particular highlight?

Our first EP on our own Black Dog Productions label and the first Warp albums 'Bytes' and 'Not for threes' were exciting times but starting anything new is pretty thrilling, even now.

Do you find it hard to come up with new ideas after so many releases?

It is easy to fall in to a formulaic way of doing things and to some degree those are the things that define our 'style' but with enough input from the world around, it's possible to keep the process fresh. The desire to keep learning and to be playful helps.

Obviously dubstep is huge now, with house tipped to making a return. Do you think IDM being rediscovered by this generation would be a good thing or would chart 'success' take away the 'Intelligent' from Intelligent Dance Music?

'IDM' has always been an embarrassing and slightly insulting description. A lot of the production techniques associated with it are used in all forms of music now. It doesn't reallyexist as a distinct genre. it was a way to describe electronic dance music that was obsessed with detail or complexity and there are producers doing that in all fields.

Are there any artists you'd really love to work with?

We can't play instruments very well so it's always exciting to make music with people that can or people that can sing.

Visuals are important to you. In your live shows, working with Michael Arias and the greedy baby project it shows. Why do you spend so much time working on the visual side?

We never particularly wanted to be on stage so initially it was to give the audience something to look at other than ourselves. Now its become more personal and we really enjoy the interaction of sound and vision and trying to use it to enhance the music. With soundtracks it's the other way round and we try and submit to and assist the images.

Do you two have a healthy working relationship? What's the writing process like?

We have become like brothers, a relatively healthy mix of respect and disdain. We still try and surprise each other.

Looking forward, think you'll still be doing this in another 20 years?

Hopefully something related but who knows. Making music becomes addictive and habitual, a mix of expression and escapism so it would be hard to stop.

Do you prefer playing to bigger or smaller audiences? Which do you think works better for your audiovisual style.

Smaller is usually better for us, it makes a positive difference when people are close to you. Having said that video can be much more effective when its big!

Who do you look up to in your genre?

Anyone with a distinct sound.

Are there any artists you feel should be getting a lot more attention than they currently are?

Set in Sand, Cloud Boat, O.S.T. and lots more...

What are your plans for the near future? A new project, a tour, or some time away?

An album in less than 6 years and some more soundtrack work would be brilliant.