Technokunst asks: Orbe
Hey Fernando, thank you for accepting our interview request! Technokunst is a collective of artists
who embrace events with the tradition of vinyl dj-ing as well as of modular live sets. Orbe as a project
therefore has been on our radar for some time now - we really resonate with the work you’ve been
putting out.
Can you tell us a little bit about your background and how you met with techno? What are
some of the initial influences that shaped your sound? Is there anyone out there that helped
you grow and learn, or did you pick it up all by yourself?
It is my pleasure to participate in your project, thank you! I was born in a town called Algeciras in
southern Spain, in the Andalusia region. I started listening to electronic music through my older
brother, mostly Breakbeat and Drum & Bass.
When I moved to Seville to study audio engineering, I met a guy called David – still a good friend to
this day - who was the one who led me into Techno music for the first time. When he showed me a
Richie Hawtin set, I was blown away.
Later I continued my sound engineering studies in Madrid, and met Ruben De Felipe and Eduardo De
La Calle, who both greatly influenced the type of sound that represents me today. They would always
bring home new music from Drexciya, Juan Atkins, Jeff Mills, and then I would lock myself in the
studio influenced by all those sounds that were new to me.
The Iberian techno scene has been at a constant high point for some time (at least until covid hit)
How is your connection to your fellow Spaniard and Portuguese producers?
The relationship has always been good and healthy. In Madrid, - where I live now - there are fantastic
producers with good record labels that bring very positive things to the Techno scene. We are all
good friends with Ocktawian, Tadeo or Psyk, and we share projects.
The same thing stands with Portugal. They are humble people, wanting to work toward contributing
positive things to the scene. I would mention the guys from Hayes Collective, Pedro Rebelo 'Ruuar'
or Gustavo, the promoter of Neopop.
photo credit: Pablo Gallardo
Some of your fellow producers from the Spanish scene left their homebase and moved to Berlin
(Refracted and P.E.A.R.L. to name two of them). Have you remained in Spain and do you have
any plans to move around?
I love Spain and I don't want to move abroad :)
How do you feel about the current state of affairs in the world of techno? It seems that the 90s
has made a comeback and lots of labels shift their sound towards higher bpm to accommodate this.
Yet we can see hear that the tempo of your releases has remained in the lower 130s.
I don't think justice is done to artists who work well in the studio, who make good music, who have
good labels that bring positive things to the scene. Basically, an unresolved imbalance exists. Some
with very little input achieve a lot, and others, with a lot of work, achieve little. It is clear that the
industry evolves, the networks, the image ... okay, I respect it, I understand it and accept it, but I
believe that there are certain values and pillars that should not be ignored. The industry has to evolve
from a basis that in my opinion is immovable.
Regarding the BPM, I think it is a trend that will soon end and it will go down again, and then it will go
up again, it is a continuous cycle.
With the release of Transhuman EP on TOKEN, it caught our eye that you were referencing the work
of Fereidoun M. Esfandiary - a transhumanist philosopher. Does futurology interest you as an
intellectual movement or is this more of a stylistic choice that complements techno well?
I have always been attracted to the afterlife, and to the thought of what the future may bring in terms
of technological and other advancement. For me, Techno and modular electronics are a way of
contacting the future, the avant-garde. The EP on Token Records is called 'Transhuman' for this
reason.
Token 102
We see that Orbe Records is mostly a means to release your own music with full creative control, but
we also see some guest appearances - such as Spanish techno veteran Eduardo De La Calle. How
did you arrive to the decision to start your self-titled label, and how do you curate the output
of Orbe Records?
After many years of making music and maturing my sound, I was confident enough to launch my own
label with my own concept. I tried going this way to be able to develop a catalogue without an A&R
assessing what was good and what wasn’t. It was a little over 6 years ago that I launched it as a vinyl-
only label. This is a concept I ultimately decided to change in 2019, since there were almost no
Techno DJs left that played vinyl. I apologize to the followers of the label but I had no other choice to
keep things going.
I am already preparing the next release, number 012, but all pressing plants have waiting lists until
next summer... :(
Your most recent release on Orbe Records – “Psy Visionary” was released as a lengthy LP on a span
of 4 x 12” vinyl records. This is becoming increasingly rare and seems like a bold move. Can you tell
us a little bit about this album and how you see the market for further releases like this? Do
you see this as a concept album like “Interplant” or more of a collection of tracks that describe
your type of sound well?
The idea of releasing this record came during lockdown. I took some machines home and it all went
from there, I made a lot of music that I knew had to see the light of day. It is rare to see a 4x12 album
in the current market, - it is very risky - but perhaps this encouraged me to do it even more. It was a
way to differentiate myself from others. The concept is different from 'Interplant'; in that 'Psy
Visionary'; is more focused on the dancefloor, all written and created using modular synthesis.
How does your production setup look like? Do you prefer using software, hardware, or a
combination of both? Can you show us your studio and your favourite tools for production?
In the studio I do everything hardware-based during sound creation and recording. Once recorded in
the multitrack, I can use dynamics plugins for correction, be it an EQ or an exciter.
My favorite tool is modular synthesis. I also love sampling my own sounds, and do so either with the
Digitakt or the Morphagene synth module, by sending any sound from the mixer through an auxiliary
group output. I love using the Bark Filter Processor by Verbos Electronics and also the Elektron
Monomachine synthesizer. I also use an old harmonizer DSP, the Eventide H3000.
As for gigs, what is your preference, performing live or through dj-sets? More intimate clubs, or
larger venues such as festivals?
I prefer live performances on big festivals and DJ sets in a more intimate club setting.
What is next in focus for the Orbe project? More gigs or more production?
Always both. To have gigs it is necessary to make records. :)
Can you share some of your favourite music – current or past, that you wish readers of this
interview heard?
In would choose Boards of Canada or Brian Eno, music always to relax to.
Podcast 265 - Feral
2021 has been a year of many ups and downs, but we were pushing to end on a high note. Feral - of Hypnus alumni - helms our third podcast, and we are honoured to have him. This hour is a uniquely crafted contribution of spaced out deepness, and a level of storytelling quality you've come to expect from the Aube Rouge head honcho.
Podcast 197 - Desroi
Technokunst - a Budapest-based collective of like minded artists - has launched a series of podcasts, showcasing some of the best talent of the multifaceted genre we call techno. These podcasts equally feature live-recorded sets as well as studio mixes.
We are back on track after a bit of a hiatus, rolling forward with the amazing german talent Desroi. Desroi has supplied us with an hour of his mind-bending vision of techno.We have also interviewed him on our blog, where he talks about his process of selecting the tracks for the podcast. To see more, check the links below.
For each release a fitting color will be chosen from the Pantone universe. The identifier of Desroi's set is 197c begonia pink.
Technokunst asks: Desroi
Hello Frederic, thank you for this interview with Technokunst!
Hey Marton, thanks for the interview and your interest in me and my music!
How did you career with techno start and what are some of the influences that shaped you as
an artist?
I get this question in almost every interview hehe.. but I guess that just happened very naturally. When I got to that age where I started going out, Techno and Clubmusic caught my attention more than anything else. Since I was into music ever since (I played guitar in a Rock band before) it wasn’t long before I started buying synths and took my first steps into techno music.
You have studied composition at the Folkwang University of Arts. How do you incorporate the curriculum in your daily production methods?
Having a deep and profound understanding about synthesis, music theory and production for sure helps me with all of my work I’m doing.
How does your production setup look like? Do you prefer using software, hardware, or a combination of both? Can you show us your studio?
Usually a good mixture of both is my way to go. I use loads of hardware as I use lots of digital stuff and plugins as well. I wouldn’t want to be restricted to only one of them.
How did the idea come to set up your own label? How do you decide what to release on established labels such as Avian - and your eponymous label?
Setting up my own label was THE way to put out music quickly and whenever I want. Without being depended on anyone else.
Technokunst strongly focuses on vinyl as a carrying medium for dance music. We are glad to see that you keep pushing vinyl releases. What are your thoughts on vinyl as media and how do you see the future of releasing records?
For me personally vinyl is still important, as it ever was. At least within the genuine techno scene. Honestly I lost hope in vinyl sales recently, but then my last record “Vermillion Border” sold out in only 4 weeks which gave me new confidence to continue vinyl releases. To date I haven’t put out any EP or album that was digital only, and I won’t.
Looking at your Label’s artworks, it seems you have a keen interest in physical artforms, such as sculpture. Many labels tend to release vinyl with blank sleeves. How have you approached the visual aspect of a record release?
Well when I go record shopping, the first thing that I’ll notice when I go through a bunch of new and unknown records is their cover/artwork. Thus it was clear for me that I want something more appealing than just a plain black/white sleeve. That also correlates with my big interest in graphic art.
In parallel to this interview, you have also recorded a podcast for us. What decisions did you make with regards to the tracks and arrangement?
When I record a new mix to be streamed online, I usually select tracks that I wouldn’t necessarily play out in a club. Most people will listen to it at their homes, or travelling. So I want to create something to take one onto a nice journey.
How do you feel about the ongoing CoVid crisis and what do you think about its long-term effects on club culture?
To be frank, I have no clue. It could be anything. At least I hope that the techno scene will become more club focused again and less festival focused. But I don’t see that happening. Most lineups from this year will simply be postponed to summer 2021 and things will probably just go on as they’ve stopped. But I might be mistaken (hopefully haha).
Could you please tell us 3 tracks that you've recently added to your set and like to play?
Pascal FEOS - Omychron
Reeko - Street Tool #2
Fatal - Indoleent
Technokunst Podcast 197
Technokunst asks: P.E.A.R.L.
The legendary spanish school of techno spearheaded by Mulero has always been highly respected in the world. Your first track was released on Christian Wunsch's Tsunami. Could you tell us a little bit about how it happened and how you got into this elite community that - from the outside - seems tight-knit and quite closed?
We are all from the cities of the north coast of Spain, which has always have a great tradition regarding this type of techno that was previously influenced by the Birmingham sound. During the 90's until the early 00's this was amplified by clubs like La Real in Oviedo (and many others) that shaped a whole generation of clubers and artists. At the beginning of the 00s with the boom of the "minimal" sound, there was a lack of interest in techno. I started doing this type of Techno at that time (2005) and it was not easy. Thanks to Myspace :) and people in common (we are from the same city) we contacted Christian Wünsch and we gave him a demo. That demo was released as a Various Artists on Tsunami Records: Agony Forces - It's Only Strategy (2006). That was the beginning of the relationship.
What does it mean for you to be a part of the Polegroup family? Do you feel any responsibility and are there certain expectations from the "company" in terms of a general direction in music?
I don't feel any pressure from the inside to be honest. That would not make any sense - If you are there, it is because what you do is something that contributes to what has been forged for years. And it's not doing the same sound as the others, it is having your own point of view of the same thing.
Audiences keep demanding higher bpm. Is there a point when you'll say you're not ready to play any faster, or do you just go with the flow and think more freely about playing?
It's funny because I started doing music at 135-138 bpm. Then suddenly 128 bpm was the standard and now I feel like people are prepared again for everything, that's the good news. Personally I'm very happy that now I feel the scene and clubbers are very open to different kind of styles and it's more diverse. Said that, I play faster when I have to do it - when the dance floor says it - depending of my slot or the type of the night, same thing for the opposite. You have to be always prepared for whatever.
You've performed live in Budapest last year, but this time you're going to be playing a more lengthy DJ set. Which one do you identify as more - the DJ or the producer?
I couldn't pick just one because I don't understand one without the other. I'm always in the studio doing music and listening to new music for my sets. Also digging into old music that now I want to play again. If you want a direct reply I can say that for me DJing is more fun and open but I identify myself with both.
You've been living in Berlin, managing your label Falling Ethics. What do you see in vinyl besides advertising value? Are physical releases worth the endeavor?
Music is something intangible and all forms of expressing art - or fashion for example - in the end have a format that lasts over time: music on vinyl has always been the source for the disc-jockey to express their art. Now with the digital formats - that I don't have anything against them - we're on the risk of losing a huge important part of our history. So I think is also important to maintain one of the few traditions that we have as much as we can.
How do you imagine your future in 20 years' time? Do you have a safety plan laid out?
Doing something related with music of course. But no, I don't have a plan, i don't like to look that further in the future.
Could you please tell us 3 tracks that you've recently added to your set?
yes, of course:
December - Encore
Inox Traxx - Sound Effects
Peder Mannerfelt - Sissel & Bass (OnScreenActor Remix)
Technokunst kérdez: P.E.A.R.L.
Mindig is nagy tisztelet övezte a techno berkekben a legendás Mulero féle Spanyol iskolát. Első kiadványod a Wunsch által igazgatott Tsunaminál jelent meg. Mesélnél nekünk egy kicsit, miként sikerült bekerülnöd ebbe a kívülről nézve nagyon zárt, elit közösségbe?
Mindannyian azokból Észak-Spanyol városokból származunk, amiknek történelmük van a Birmingham hangzással átitatott technóban. A 90-es években és a 2000-es évek elején olyan klubok adtak ennek teret, mint az oviedói La Real, ami egy egész generációnyi klubber és művész életében volt meghatározó. A 2000-es évek elején a “minimál” hangzás hirtelen jött népszerűségével alább hagyott a technóra való érdeklődés. Én 2005-ben kezdtem technót írni és nem volt egy könnyű időszak. A MySpace :) -nek és néhány közös ismerősnek (akikkel ugyanabból a városból származunk) köszönhetően eljutattunk egy demót Christian Wünsch-höz. Később, 2006-ban az a szám megjelent a Tsunami Records Various Artists válogatásán (Agony Forces - It's Only Strategy) és így kezdődött a kapcsolatunk.
Mit jelent számodra, hogy egy ilyen illusztris társaságnak, mint a Polegroup-nak vagy a tagja? Érzel bármi felelősséget ezzel kapcsolatban, illetve van-e bármilyen elvárás a "cég" részéről, hogy zeneileg mi legyen az irányvonal?
Nem érzek semmi nyomást belülről és nem is lenne értelme. Ha már bent vagy, az azért van, mert amit csinálsz, az hozzáad valamit ahhoz, amin hosszú évek óta dolgoznak. Ez nem arról szól, hogy ugyanazt a hangzást követed, mint a többiek, hanem arról, hogy mi a te, eltérő látásmódod ugyanazzal a dologgal kapcsolatban.
Egyre gyorsabb és vadabb hangzásokat követel meg a klubok közönsége. Lehet vajon az a pont, amikor azt mondod, hogy nem, ennél gyorsabban már nem vagyok hajlandó játszani, vagy szeretsz sodródni az árral és szabad stílusban gondolni a djzésre?
Vicces, hogy ezt mondod. ugyanis én 135-138 bpm-en kezdtem zenélni, aztán hirtelen a 128 bpm lett az új sztenderd. Most újra úgy érzem, hogy az emberek mindenre felkészültek, és ez jó hír. Én nagyon örülök neki, hogy a szcéna és a közönség is nagyon nyitott a különböző stílusokra és színesebb ez az egész. Szívesen játszom gyorsabban, amikor úgy hozza az este vagy a tánctér megköveteli, de előfordulhat az ellenkezője is. Minden szituációra felkészültnek kell lenned.
Legutóbb saját zenéidből álló műsorral léptél fel nálunk, most viszont egy hosszabb dj szettel készülsz. Melyik vagy igazán te, a dj vagy a producer?
Nem tudnék választani, ugyanis nem érteném az egyiket a másik nélkül. A stúdióban egyszerre töltöm az időt zenék írásával, új zenék válogatásával vagy régi zenék újra felfedezésével a dj szettjeimhez. Ha mindenképpen választanom kellene, akkor azt mondanám, hogy dj-zni szórakoztatóbb és szabadabb, de tényleg mindkettő én vagyok.
Egy ideje Berlinben élsz és onnan igazgatod a kiadódat is, a Falling Ethicset. A reklám értéken kívül milyen pluszt jelent a vinyl formátum? Megéri a befektetett rengeteg munkát számodra?
A zene fizikailag megfoghatatlan és a művészet minden kifejezési formájának – például a divatot is ideértve – szükséges egy formátum, ami kiállja az idő próbáját: a vinylre nyomott zene mindig is a dj-k eszköze volt a művészetük kifejezésére. A digitális formátumokkal (nem mintha bármi problémám lenne vele) azt kockáztatjuk, hogy elveszítjük a történelmünk egy hatalmas részét. Emiatt szerintem fontos, hogy próbáljuk, amennyire csak lehet, megtartani a kevés tradícíónk egyikét.
Hogyan képzeled el a jövődet 20 év múlva? Van safety plan az életedben?
Biztos a zenével kapcsolatban csinálok majd valamit.. de konkrét tervem az nincs, nem szeretek ennyire a jövőbe tekinteni.
Meg tudnál nevezni 3 zenét, amit legutóbb illesztettél be a dj szettedbe?
December - Encore
Inox Traxx - Sound Effects
Peder Mannerfelt - Sissel & Bass (OnScreenActor Remix)
Podcast 072 - Luigi Tozzi
Technokunst - a Budapest-based collective of like minded artists - is launching a series of podcasts, showcasing some of the best talent of the multifaceted genre we call techno. These podcasts will equally feature live-recorded sets as well as studio mixes.
First in line is our dear friend Luigi Tozzi - delivering an explorative, dimension-hopping studio mix just in time for the festive season.
For each release a fitting color will be chosen from the Pantone universe. The identifier of Luigi's set is 072c blue.
Technokunst asks: Denise Rabe
Your career as a musician is following a classic path. You stepped into the international game after a long learning process, hard-earned club experience and a release behind you - all adding up to significant routine. If you were to start again, would you follow the same path, or take a different course with a Boiler Room video (and less experience) instead?
I wouldn't change a bit. I am very happy and thankful how everything developed. I think it's better you grow slowly instead of rising fast without any experience, depends also what you are looking for. For me it's not a fashion thing I am Djing since 19 years now and started producing 8 years ago. But I started also at a different time. Everything changed in the past few years, techno has reached a brought audience and with it the number of people wanting to produce or Dj has in creased. But at the end of the day you need to find your voice and identity which takes time no matter what, it’s a process.
I believe in the quote of Anton Bruckne: „He who wants to build high towers must spend a lot of time at the foundation.”
Your roots lie in Hip-Hop and Drum&Bass. What turned you towards Techno, any specific moment you remember fondly?
That is very true but also I always liked the sound of the Prodigy for example ( I was 9 or 10 years old), I just never hung out with those people in my teens, in my town or school there was no-one who really listened to electronic stuff as far as I remember. My first little rave was with 14 and I went to the Loveparade in 2000 when I was 15. There was always some techno in between just not on the surface. But my 2nd visit in Berlin in 2009 changed the whole thing for me. Being surrounded with this energies in the clubs. Totally different thing and a live changer.
It is unavoidable to ask about the ideological views of an artist these days. What do you think about the ever increasing presence of different ideologies in electronic music, and the internal tension this may cause? Would you agree that there was more respect and a friendlier atmosphere among artists in the past?
The underground has always distinguished itself by giving a home to anybody as long as respect was being the only rule. And I think it should remain that way.
The techno scene is getting more and more accepted in the contemporary world of art. You too, place great emphasis on your label's release artwork (a telling sign of an artistic spirit). How important do you think it is, to be a part of the broader world of art through our activities?
If that is art or not what I do lies in the eye of the beholder. For me it’s more important that it mirrors me. If you have something nice or mind opening to share with the world it’s fantastic no matter which vehicle you use.
Technokunst as a collective is committed to using vinyl records. We know a lot of international DJs dismiss travel with heavy bags these days, but do still release their material on vinyl. Can an artist who releases physical records, but never plays them, remain authentic?
I think we shouldn’t be so hard on that. I remember my boyfriend pushed me more or less to use USB sticks because I was complaining a lot and I had more and more technical issues playing vinyl because most of the clubs are not keeping them in a good condition and so on. I refused playing digital in the beginning. But I really don’t miss the traveling with the heavy bag which weighs half of me. But I definitely would agree on playing vinyl gives you a special kind of feeling which CDJ’s never will reach that’s for sure! You're more in touch with the music.
Pressing your music on a record gives it more value, I don’t like these rules. Why being bothered by what others do or not. You can be a collector only why not. It’s more the passion behind all that. And if you have a great taste of music which makes the crowd flip I really don’t care if this is with vinyl or digital as long as you work with the audience.
Your last record came out on Lucy's Stroboscopic Artefacts. It's a label with a cult following and known for its drive for perfection. How free were you with the sound design and arrangement choices you were making?
I did’nt produce the music specific for SA . Lucy heard the music and liked it. Thats basically it. For the SA X Years he wanted something not four to the floor so I reconstructed a track for him, but there were no advices on arrangement and sound design, all me on there.
We know from Tim (ed.: her agent) that you would like to spend a few hours exploring Budapest. Is there something in particular that you'd absolutely like to visit?
I heard Budapest is a beautiful place and I would like to see the Royal Palace, if there is enough time.
It's the first time the audience in Budapest can hear your set live. We look forward to the night as your sound is close to our heart. Would you share with us 3 of your (current or older) favourite tracks you've loved to play recently?
I Murdered - Blood in Blood out on RYC011 (out soon)
Dasha Rush Infinite Warp on P-RT-L
Reeko - * Screem `n` Cry on Avian
Technokunst kérdez: Denise Rabe
Zenész karriered a klasszikus pályát járja. Hosszú felfutással és tanulási folyamattal és a kellő tapasztalattal a klubok világából, léptél első kiadványoddal a nemzetközi porondra akkor már kellő rutinnal a hátad mögött. Ha most kezdődne a karriered és választhatnál, ugyanezt az utad járnád be, vagy bevállalnál minden tapasztalat nélkül egy világot jelentő Boiler Room videót helyette?
Nem változtatnék semmin. Nagyon örülök annak, ahogy a dolgok alakultak. Szerintem jobb lassan gyarapodni, mint hirtelen kevés tapasztalattal ismertté válni. Számomra ez nem a divatról szól, 19 éve DJ-zek már és 8 éve foglalkozom producerkedéssel.
Sok minden változott az elmúlt években, a techno elért egy szélesebb közönséghez, a zenéléssel foglalkozni akaró emberek száma növekedett, de végső soron az ember identitásának kialakításához szükséges időt nem lehet lerövidíteni. Anton Bruckne szavait tudnám említeni: "Aki magas tornyot akar építeni, annak sok időt kell eltöltenie az alapokkal".
Hip Hop és Drum and Bass gyökerekkel rendelkezel. Mi volt ami a techno felé fordított, van e olyan pillanat amire szívesen emlékszel vissza ezzel kapcsolatban?
Ez valóban igaz, de például már 9-10 éves koromban nagyon szerettem a Prodigy hangzását. Egyszerűen kevesen hallgattak akkoriban a környezetemben ilyesfajta elektronikus zenét, az első rave-em 14 évesen volt, és 2000-ben, 15 évesen mentem először a Loveparade-re. Mindig nagyon tetszett a techno, de igazán csak 2009-es második berlini látogatásomon változott meg bennem valami. Elképesztő volt a klubok energiája, teljesen más volt mind addig bármi, ez gyakorlatilag megváltoztatta az életem.
Megkerülhetetlen manapság, hogy ideológiákkal kapcsolatban ki kérjék a véleményét egy-egy előadónak. Mit gondolsz, a különböző ideológiák egyre erősebb jelenléte az elektronikus zenei életben nem okoz e túl nagy belső feszültséget? Nem érzed, hogy ezek megjelenése előtt sokkal nagyobb volt egymás iránt a tisztelet és sokkal barátibb volt a légkör a művészek körében?
Az underground mindig is otthont jelentett mindenki számára, az egyetlen szabály egymás tisztelete volt. Ennek így is kell maradnia.
A kortárs művész világban egyre elfogadottabb a szcénánk. Te is nagy hangsúlyt fektetsz kiadód artwork-jeire, ami már önmagában is egy-egy önálló alkotás és érzékeny művész lélekre vall. Mennyire tartod fontosnak, hogy tevékenységünk által része legyünk a képzőművészeti világnak?
Számomra nem fontos, hogy valaki művészetnek veszi-e amit csinálok. A lényeg, hogy magamat adjam. Ha valami pozitív és izgalmas dolgot csinálsz, mindegy milyen eszközt használsz hozzá.
Technokunstként mi is elkötelezettjei vagyunk a vinyl lemeznek. Tudjuk az utazások miatt sok nemzetközi dj már nem viszi magával a nehéz táskát, ám mégis mit gondolsz arról, hogy sokan büszkén tárják ország világ elé a fizikai megjelenésüket, majd este a klubban egy lemezt sem látnak tőle a fiatalok, akik korábban megvásárolták a kiadványát a boltokban? Hiteles tud e maradni az az előadó, aki lemezt jelentet meg, de soha nem játszotta azt?
Szerintem nem kell túl szigorúnak lenni a témában. Emlékszem, a barátom mondta, hogy váltsak pendrive-ra mert egyre többször panaszkodtam a lemezjátszókkal kapcsolatos technikai problémák miatt. A legtöbb klubban sajnos nem tartják őket megfelelően karban. Az elején nem játszottam volna mp3-akat de őszintén szólva nem hiányzik a nehéz lemeztáska. Abban határozottan egyetértek, hogy lemezről a legjobb játszani, jobban érintkezésben vagy a zenével.
A vinyl megjelenések nagyobb értéket jelentenek a zenéid számára, bár szerintem ennek sem kéne törvényszerűnek lennie. A lényeg a szenvedély, ha jó a zenei ízlésed és jól mozgatod a közönséget, mindegy milyen médiummal teszed.
Lucy Stroboscopic Artefacts címkéjén találkozhatott Veled a hallgatóság legutóbb. Egy kultikus kiadóról van szó ami a perfekciójáról híres. Mennyire volt szabad kezed a zenéket illetően?
Nem kifejezetten a Stroboscopic Artefacts-nak készültek ezek a zenék. Lucy hallotta őket, és megtetszett neki. A "SA X Years" kiadványra nem 4/4-et akart, úgyhogy átalakítottam egy korábbi zenét. Nem volt semmilyen beleszólása a sound design-ba, amit ott hallasz az mind én vagyok.
Timtól (szerk:az ügynöke) tudjuk, hogy szeretnél pár órát Budapest felfedezésével tölteni. Kinéztél már valamit, amit feltétlenül meg szeretnél látogatni?
Hallottam, hogy Budapest nagyon szép hely, a Budavári Palotát szeretném megnézni, ha lesz elég időnk rá.
Először hallhat téged is a hazai közönség a hajón. Nagy várakozással nézünk az este elébe, mert nagyon közel áll a szívünkhöz a hangzásod. Megosztanál velünk 3 aktuális vagy régebbi kedvencedet, amit mostanában előszeretettel játszol?
I Murdered - Blood in Blood out on RYC011 (out soon)
Dasha Rush Infinite Warp on P-RT-L
Reeko - * Screem `n` Cry on Avian