20130329
Fresh sound: Cristi mic si Cristi mare. Ambient hipster hop surpriza.
3,2,1 si: primavara asta n-o sa vina doar cu ploi care curata praful din bucuresti spre umplerea cu noroi a rigolelor ci si cu Silent Strike & Kazi Ploae intr-o formula septica pentru hiphopul romanesc pe care il spala putin de impuritatile din spatele blocurilor cu "Silent Regis EP", o solutie unica de sans-serife, poza artsy, titlu englatin (unde Regis vine de la Regis Osmund, aliasul literar al lui KP) si clean production. piesa de mai sus e unul din extrasele castigatoare de pe EP, restul pieselor se pot asculta pe pagina asta de youtube. pana acum fuziunile si hibridizarile s-au facut intre hip si groove in underground (norzeatic si khidja: aici acum) sau intre EDM si hop in mainstrem (puya cu eli si hora), but don't start a war out of it. ca in vremurile murdare ale hip-hopului, fac un apel catre cititorii blogului de fatza, care nu prea gusta ce vine din zona de bass/hip hop/low culture, sa nu se alieneze ca am scris de kazi ploae si de silent strike, iar pe fanii norzeatic, kazi ploae si puya sa nu arunce cu molotovuri in commenturi din cauza alaturarii de mai sus. ce mai, varianta asta de ambient hipster-hop e unicat pe aici, si suna chiar bine. blablabla... mare lucru, nu-i mare lucru. boingbumchak o saluta.
Lansare Silent Regis EP - bucurești - 11 aprilie : facebook event
Lansare Silent Regis EP - Cluj - 13 aprilie : facebook event
Mp3 Download : bananasociety.ro
Kazi Ploae
pe facebook
pe blogspot
Silent Strike
Rec/Mix/Master - Benzen
Foto : Claudiu Cobilanschi http://www.cobilanschi.ro/
primit colet autechre si scrisorica hot casandra
chestia cu trackurile tzaraite lunar pe conturi sociale pentru arousal of interest pare biletul platit de producatori ca sa se asigure ca li se vand biletele la giguri si concerte in noul mediu real-virtual in care ne fâtzâim. pana si holograf stie asta (sau era vorba de florin salam, nu-mi aduc aminte). anyway, mai sunt unii care nu respecta regula si joaca la cantitate mare. dupa cum arata inbox-ul meu, autechre si-a scos noul album si mi l-a varsat intr-un minut in mail. e mai putin idmist si glitchuit, dar tot nu ma prind in ce context functioneaza muzica lor. piesa de mai jos, la 12:20 arata ca autechre se tin inca bine chiar intr-un tunel de sunet facut dintr-un track de tobe cu un reverb luuuuuuuuung cat o nava de catedrala catolica, cu frumuseti pasagere. astept momentul cand o sa primesc discografii intregi trimise de pe youtube.meanwhile, hot casandra, proiectul lui paul ballo (ex-drummer kumm, go to berlin, the amsterdams) care vroia mai demult sa devina vlad nanca cand va fi fost sa se fi facut mare (va place viitorul anterior din romana?), va sustine un concert la londra. pentru ca paul sta si lucreaza la londra. m-am gandit sa pun afisul din i-scrisorica anuntatoare primita de la hot casandra fiindca am un prieten in londra. da. alex, daca esti liber si ai chef, poate dai o tura si faci o relatare despre comunitatea de synth driven underground pop romaneasca din capitala insulei. si poate iti notezi cate din influentele astea gasesti la hot casandra: simian mobile disco, ladytron, boy eats drum machine, air, turboweekend, francis harris, veto, mike and the mechanics and misstress barbara (merge si pe genul cate asemanari si deosebiri exista intre). cheers.
20130328
Fresh sound: Peripatetic - Standpoint
Standpoint, noul melancholic tour de force de la Peripatetic: ze bounce, ze violins, ze crescendo, ze hard drums, ze soft voice - toate artileria grea e pe pozitie. soundul a crescut brusc de la prima la aceasta a doua piesa cu o dimensiune neasteptata de stadium like si are totusi aceeasi amprenta personala unica care nu se rezuma la timbrul vocii. nu s-a hotarat inca pentru live, deocamdata e o fantomatica energie virtuala online, da' eu, daca as fi in locul ei, as scoate tot albumul piesa cu piesa si clip cu clip, dupa care as face un live elaborat direct pe stadion, as gothic as it gets. cine o sa o vada, dupa ce ascultat-o, n-are cum sa n-o iubeasca (uite ca e aici si ultimul element din reteta succesului de mainstream).
daca ma gandesc bine, nu stiu ce imi doresc mai mult: albumul/live-ul sau noul clip. cred ca de la mad man n-am mai asteptat urmatorul episod cu atata simpatie. clipul pentru noua piesa e promis, o sa vina si, ca sa ii raspund lui vlad, da, imi place piesa, dupa cum mi-a placut si am sustinut proiectul Peripatetic dinainte sa se cheme Peripatetic. with/without a standpoint. jonctiunile astea intre o formatie vizuala teleportata intr-o instanta audio all in one: o singura persoana, o ea, self taught in computer DAW, care compune, scrie versuri, canta si aranjeaza track cu track ma dau pe spate. it's a gift, unul rar pe aici prin underground. dar ce zic underground, in curand Peripatetic, cu a doua difuzare pe Radio Guerrilla, va iesi foarte repede din schema wannabeilor, se simte/se vede aici networkul din spate. (iar promovarea, hmmmm, aici bullshitul cu independenta isi inghite propriul bullshit; cre'ca cine vrea sa treaca dincolo de linia dintre obscuritate si notorietate trebuie sa se gandeasca si la alte metode decat cele social -media- democratice).
o sa regret succesul ei viitor si apropiat, se stie ca cine ajunge in mainstream nu mai apare decat sub forma de interviuri glossy, mici cancanuri, barfe despre relatii si recomandari tip bravo, cel putin in presa romaneasca (pentru maria din elvetia asta ar fi o veste buna). asta e, boing bum-chak o sa isi faca si o rubrica glossy, cu dedicatie. keep on standpointing.
20130326
status lung din statusuri scurte cu minuscule si stelute
* publicatiile offline sunt energofage. recent l-am vazut pe zoltan varga - autorul blogului deascultat din timisoara, veteran la anonim tm - scriind pe pressalert. foarte bine, doar ca numarul postarilor a scazut proportional pe blog. cine intra in malaxorul semnaturilor de rubrici mici si generaliste isi pierde energia pentru lucruri mai detaliate. same with me cu dilema si sapteseri. plus ca publicatiile offline don't pay back. nu ca ar avea prea mult de platit, dar macar asa. si inca un plus-minus: cand te inghesui intr-un numar fix de caractere, uiti ce vroiai sa spui, amputezi ramificatiile gandurilor si ideilor, ramai cu un schelet de gandire, si pe urma uiti sa gandesti si ti se taie si de scris.
*articolul cu independentii din dilema veche a fost interesant nu prin ce a iesit ca material, ci prin ce a scos la suprafata. mi-e frica sa trag concluziile si aici, ca si in ziar. s-au stricat niste relatii incipiente pe teme de orgolii personale prostesti. de fapt am intalnit mai mult orgoliu manifest decat am intalnit intr-o viata, in special la unul din starurile origami sound, gen "i know best so who the f@#$ are this anonyms". anonimii fiind cei care au raspuns la chestionar. sorry guys. arrr-ta. am o mancarime pe creier, o mancarime usor murdaricioasa si cred ca putin galbuie, dar nu chiar fluo, de care nu mai pot sa scap dupa ce am terminat-o cu articolul. si se fac deja doua luni.
*treaba asta stangista cu muzika ka si forma de rezistenta e un bullshit de care nu stiu de ce m-am atasat asa. din interviurile si chestionarele luate, nimeni nu are o pozitie fata de establishment, ba mai mult, lentila asta a facebookului si a social media are un punct orb pentru mainstream: pur si simplu considera ca nu mai exista, so why bother?
*m-am uitat recent pe afisele festivalurilor de muzica electronica de prin tara: niciunul dintre corifeii undergroundului de internet si dintre capii afiselor de la evenimentele de aici din bucuresti nu apare prin tara. in schimb ii vezi peste tot pe gojira, roa, suie paparude, silent strike... deci un mainstream lectronic tot exista, si la el tot au pus umarul mijloacele traditionale dah comunikare catra masa. cine nu isi face bagajul si nu incepe sa puna muzica prin barlad, dorohoi, tecuci si drobeta turnu-severin nu o sa lase multe urme in perceptiile romaniei aleia conectata prin mp3iurile din telefoane la muzika kare se vehiculeaza prin mainstreamul urban si asa zis sub-urban. (ah, ce categorii penibile pentru o tara care e de fapt jumate rurala si jumate urbanizata cu forcepsu'). de ex., baietii de la o.s. mai au mult de lucru pana sa ajunga sa aiba, pentru romania asta lectronica, influenta unui singur gojira sau silent strike. si multi altii de pe dambovita. s-a zbarlit cineva?
* asa ca influenta capitalei e minora. de aproape pare ceva mare si efervescent, dar multele likeuri de pe page-uri artistilor de pe aici nu ajung ca sa schimbe ceva (decat foarte putin) prin tara. de ce ar schimba? social media e in romania o izolare insulara impotenta in a suplini infrastructura absenta. e din cauza ca nu avem autostrazi? imi ziceam mai demult ca nu exista techno-pop fara autobahn. revin la gandurile de altadata.
*tot din ciclul ce mai face tara, am descoperit niste putine saituri/bloguri care se ocupa cu muzica. am descoperit ce inseamna un ton al vocii provincial si mi-am dat seama ca si boing e la fel de provincial: sa te plangi, sa iti doresti unificare, sa vrei mai mult, sa propui, sa faci ca electroblog, sa trezesti constiinte, sa iti bantuie duhul lui mihai viteazu prin taste visand la compilatii interjudetene si sa mori taiat in paispe de boierii care credeai ca te sustin.
*apropo, nu mai exista bloguri de muzica electronica in romania. oamenii s-au orientat spre congregatii platite si platforme care au agregat pana la jde mii de likeuri si fani. mohicanul asta numit blogger e un dinozaur trist, si erbivor pe deasupra. il inteleg pe paul de ce zicea ca i se pare ca nu mai functioneaza formatul. agregator de informatie nu mai merge, agregator de emotii, de visceral si afront (vezi vice, vlad stoian, avec.ro, the chronicle, sub25), asta e cheia. rip electroblog, chestionabil, freshgoodminimal, boingbumchak (a, nu stiati ca mortii vorbesc?)
*am inteles finally si ce vor (in teorie) artistii de la bloggerii disparuti: nu recenzii, ci preluari si amplificari. pe omul care face muzica il hraneste emotia si feedbackul din timpul marelui joc de amplificari grosiere si subtile care se cheama concert: sparti de volumul si corpul sonor in care se scalda si el si publicul, cu emotii amplificate de la unul la altul de o parte a pupitrului, dincolo spre cealalta parte si inapoi pana, intra emotional in feedback loop. poti sa compari asta cu un review care iti diseca muzica in absenta muzicii? pe artist il intereseaza sa fie promovat, sa fie invitat, sa cante, sa isi ia portia de energie financiara si emotionala din feedback loopurile create intre public, bar, boxe, microfoane, si mixer si sa mearga mai departe. ce atata vorbarie?
*nu stiu ce *#*$ am facut si am pierdut punct ro-ul din coada si m-am ales cu blogspot. mai bine.
*articolul cu independentii din dilema veche a fost interesant nu prin ce a iesit ca material, ci prin ce a scos la suprafata. mi-e frica sa trag concluziile si aici, ca si in ziar. s-au stricat niste relatii incipiente pe teme de orgolii personale prostesti. de fapt am intalnit mai mult orgoliu manifest decat am intalnit intr-o viata, in special la unul din starurile origami sound, gen "i know best so who the f@#$ are this anonyms". anonimii fiind cei care au raspuns la chestionar. sorry guys. arrr-ta. am o mancarime pe creier, o mancarime usor murdaricioasa si cred ca putin galbuie, dar nu chiar fluo, de care nu mai pot sa scap dupa ce am terminat-o cu articolul. si se fac deja doua luni.
*treaba asta stangista cu muzika ka si forma de rezistenta e un bullshit de care nu stiu de ce m-am atasat asa. din interviurile si chestionarele luate, nimeni nu are o pozitie fata de establishment, ba mai mult, lentila asta a facebookului si a social media are un punct orb pentru mainstream: pur si simplu considera ca nu mai exista, so why bother?
*m-am uitat recent pe afisele festivalurilor de muzica electronica de prin tara: niciunul dintre corifeii undergroundului de internet si dintre capii afiselor de la evenimentele de aici din bucuresti nu apare prin tara. in schimb ii vezi peste tot pe gojira, roa, suie paparude, silent strike... deci un mainstream lectronic tot exista, si la el tot au pus umarul mijloacele traditionale dah comunikare catra masa. cine nu isi face bagajul si nu incepe sa puna muzica prin barlad, dorohoi, tecuci si drobeta turnu-severin nu o sa lase multe urme in perceptiile romaniei aleia conectata prin mp3iurile din telefoane la muzika kare se vehiculeaza prin mainstreamul urban si asa zis sub-urban. (ah, ce categorii penibile pentru o tara care e de fapt jumate rurala si jumate urbanizata cu forcepsu'). de ex., baietii de la o.s. mai au mult de lucru pana sa ajunga sa aiba, pentru romania asta lectronica, influenta unui singur gojira sau silent strike. si multi altii de pe dambovita. s-a zbarlit cineva?
* asa ca influenta capitalei e minora. de aproape pare ceva mare si efervescent, dar multele likeuri de pe page-uri artistilor de pe aici nu ajung ca sa schimbe ceva (decat foarte putin) prin tara. de ce ar schimba? social media e in romania o izolare insulara impotenta in a suplini infrastructura absenta. e din cauza ca nu avem autostrazi? imi ziceam mai demult ca nu exista techno-pop fara autobahn. revin la gandurile de altadata.
*tot din ciclul ce mai face tara, am descoperit niste putine saituri/bloguri care se ocupa cu muzica. am descoperit ce inseamna un ton al vocii provincial si mi-am dat seama ca si boing e la fel de provincial: sa te plangi, sa iti doresti unificare, sa vrei mai mult, sa propui, sa faci ca electroblog, sa trezesti constiinte, sa iti bantuie duhul lui mihai viteazu prin taste visand la compilatii interjudetene si sa mori taiat in paispe de boierii care credeai ca te sustin.
*apropo, nu mai exista bloguri de muzica electronica in romania. oamenii s-au orientat spre congregatii platite si platforme care au agregat pana la jde mii de likeuri si fani. mohicanul asta numit blogger e un dinozaur trist, si erbivor pe deasupra. il inteleg pe paul de ce zicea ca i se pare ca nu mai functioneaza formatul. agregator de informatie nu mai merge, agregator de emotii, de visceral si afront (vezi vice, vlad stoian, avec.ro, the chronicle, sub25), asta e cheia. rip electroblog, chestionabil, freshgoodminimal, boingbumchak (a, nu stiati ca mortii vorbesc?)
*am inteles finally si ce vor (in teorie) artistii de la bloggerii disparuti: nu recenzii, ci preluari si amplificari. pe omul care face muzica il hraneste emotia si feedbackul din timpul marelui joc de amplificari grosiere si subtile care se cheama concert: sparti de volumul si corpul sonor in care se scalda si el si publicul, cu emotii amplificate de la unul la altul de o parte a pupitrului, dincolo spre cealalta parte si inapoi pana, intra emotional in feedback loop. poti sa compari asta cu un review care iti diseca muzica in absenta muzicii? pe artist il intereseaza sa fie promovat, sa fie invitat, sa cante, sa isi ia portia de energie financiara si emotionala din feedback loopurile create intre public, bar, boxe, microfoane, si mixer si sa mearga mai departe. ce atata vorbarie?
*nu stiu ce *#*$ am facut si am pierdut punct ro-ul din coada si m-am ales cu blogspot. mai bine.
20130321
Droict - Kuiper Belt (Local Records, 2013), albumul de debut al autorului blogului Boing Bum-Chak
Am bucuria sa va invit sa ascultati si aici Droict - Kuiper belt, proaspatul meu album de debut (neaparat in boxe mari sau la casti mari, in nici un caz laptop speakers sau in-ear plate). E o raritate domesticita pusa pe tava ascultatorilor si un fel de ultimul mohican in materie de atasament pentru un anume fel de a face si de a asculta muzica.
In entuziasmul lansarii, comunicatul s-a umflat in sine de ineditul momentului si merita si el imblinzit pentru a oferi un context pasnic pentru un EDM cald si melodic, cu mici experimente de productie si de constructie ascunse in trackuri, dar per total facut cu ideea de radio friendly in minte. Si in general prietenos cu cine are rabdare sa il cunoasca.
Kuiper Belt este o lansare masiva de techno autohton in termen de sound, idei, durata si hibridizari. In fiecare piesa un corpus hipnotic de hookuri melodice, beaturi disecate si sample-uri de o frumusete grotesca e facut sa intre in coliziune cu loopuri pret-a-porter alese cu grija din marea masa inflationista de dj tools generata la nivel global. Elementele structurale ale pieselor se misca mereu inainte dar se intersecteaza dupa cicluri atipice creand momente marete si surprinzatoare. Folosind un arsenal sonic restrans filtrat emotional de experienta de clubbing primitiv a sfarsitului anilor '90, Droict creeaza un sound puternic, cu accente dark, uneori disfunctional si disonant si totusi jucaus, cald si melodic. Titlul albumului face referire la masa de obiecte trans-neptuniene de la periferia sistemului planetar, un straniu gunoi solar de dincolo de planete. Nu e clar pentru cine a fost facut, sau unde se asculta cel mai bine, dar daca astfel de oameni si locuri exista, e neaparat sa fie descoperite. Sau poate este doar pentru clubul din capul nostru. Droict este un proiect al autorului blogului boingbumchak.ro."
Merita spus ca genul de techno promovat de Droict in Kuiper belt nu e un techno construit din acumulari de ritmuri si staze in asteptarea climaxurilor, desi pastreaza ceva din tehnica constructiei progresive pregatitoare a orgasmului care nu vine niciodata. (De fapt vine, dar sub alta forma). Nu e o serie de piese DJ Tools, gata bune de mixat, ci un conglomerat de corpuri sonore mai mult sau mai putin cizelate care si-au capatat ritmurile si autonomia proprie. Sint doua piese care ies din schema: Dwarf planet si Reservoir drops. Daca prima e cea mai kraftwerkiana si disonanta dintre toate, a doua cea mai lunga piesa de pe album, un miniset in sine, avand nu mai putin de 16 minute! E cea mai tripanta piesa dintre toate si cea mai incapatanata in a nu evolua decat pe mici paliere ritmice si de ambianta, si cea mai ambitioasa incercand sa ramana interesanta pe toata lungimea ei. Nu stiu daca a reusit, pe mine ma baga de fiecare data intr-un wormhole: dupa ce o ascult, niciodata nu ies la fel din ea, si nici nu stiu unde. Ca de altfel tot albumul.
Vorba unei prietene care m-a sustinut enorm prin cel mai frumos feedback pe care l-am primit vreodata: va doresc auditie si tunneling placut. Sa intrati si sa iesiti din Kuiper belt ca printr-un wormhole, mai bogati dupa ce ati contemplat ramasitele exploziei sonore initiale, numita techno-ul primitiv al anilor '90 combinat cu sensibilitatea cuiva care nu l-a cunoscut direct, ci si l-a imaginat prin nenumaratele replici care au ajuns pana aici.
Artwork & Graphic Design by Bogdan Lupescu
Master by Alien Pimp
Provoked by Grolsch
20130312
"The center of bass music is in your chest" - an interview with Alien Pimp, the mastermind behind DubKraft Records 6th anniversary
Silviu Costinescu aka Alien Pimp has
been succesfully running DubKraft Records since 2006, he is one of the
few guys who achieved something in electronic music and seems to have
made the right choice when he left Romania to establish in Spain and to
promote his vision, dreams and love of bass music and people.
I've always been impressed by the quality of his production and the energy levels flowing out of his music; recently I've had the opportunity to know him from a different perspective, which revealed a very patient and demanding guy when it comes to the quality of material he puts his hands on as a professional. (Him being the master engineer of my debut album, and I can tell he did magic with the tracks.)
For the last weeks he has been very busy preparing the launch of "DubKraft Records: 3 more years", but he found the time to discuss with me about his evolution, bass music, accomplishments and visions.
You can listen the album from the player bellow and support the artists by buying it (good news: you can buy a physical CD from here on Amazon!)
I've always been impressed by the quality of his production and the energy levels flowing out of his music; recently I've had the opportunity to know him from a different perspective, which revealed a very patient and demanding guy when it comes to the quality of material he puts his hands on as a professional. (Him being the master engineer of my debut album, and I can tell he did magic with the tracks.)
For the last weeks he has been very busy preparing the launch of "DubKraft Records: 3 more years", but he found the time to discuss with me about his evolution, bass music, accomplishments and visions.
You can listen the album from the player bellow and support the artists by buying it (good news: you can buy a physical CD from here on Amazon!)
"If they can do it, I can do it."
First of all, happy anniversary for the first six years of DubKraft Records! Or should I say SoundKraft Records? Which one was the first? Please describe a little bit the family of labels you currently run?
Thank you! The anniversary was actually last autumn, but back then I was trying to make an honest buck producing a massive concert for the EU in Bucharest. That work sponsored the anniversary CD and all the buzz you hear now. Better later. Heh, SoundKraft was once upon the time, but it seems it left a mark. DubKraft is its heir and there's also the False Flag Operation sublabel, currently in cue, but when I'll press "Play" again it's gonna rock your world!
I always think: if they can do it, I can do it. Do I need to do it? Is it worth to do it? Apparently it's all I really care doing, apart from actually creating stuff. The network built itself naturally, in time, based on mutual need for collaboration and support.
When you left Romania (how long ago, by the way?) how you envisioned your future as an electronic music artist in Spain and how it turned out to be? You go to Barcelona knowing what you wanted to do with your life or it was a universal conspiration?
I left Romania about 5 years ago, looking forward to a more sunny and less tensed place, with a more progressive environment for my work. I ended up in the major city with the least music venues and bass music promoters in EU. It's like back in time, compared to the fervent scene in Bucharest now, constantly evolving. But I took it like a chance for a new start in the shadows of the palms, with the salty sea breeze in my face. Probably in Berlin I would've prospered more, but here I am happy and I think I have earned a little place of my own in the scene here. I am not looking at my artistic future in terms of career and achievements. I look at it in terms of being happy with my contribution to this world and with the support i'm getting. Now I don't think I'm in full balance, very few people in my position are, but I know I did my best and the results were more consistent than the average.
By the way, you're a professional musician, meaning you earn your life out of music only, isn't it? Do you run the label by yourself, meaning networking, PR, booking, recording, mixing and all the stuff?
Most of what I do is music/art related, but I survive exactly because I don't rely on just one skill or trade. In music industry I have played almost all positions you can think of, I've tried anything I could, sometimes simply for the sake of experience and learning. Also had jobs and endeavours in a few other fields. In one year I can have a dozens of different jobs/positions/projects/responsibilities. This label can't support "physical life" yet. So I can't afford much collaborators, I outsource as little as possible in order to survive. I've seen these times coming long ago and I've trained myself way ahead, so, with a significant deal of sweat and time, with much support and understanding from the amazing artists we work with, we're still here, stronger than ever.
Is there any DubKraft night anywhere in Barcelona? Or do you have a residency somewhere? Please tell us your most important venues you played.
There isn't a regular night, just occasional one night stands. We're also part of the crew that carries the Terra events, not sure if any other promoters represent simply for bass right now in Barcelona, anyway, we're among the few still holding. We have many plans, but not sure if the world is ready for them. I've played a little bit of everything around here, from Razzmatazz to art galeries and smelly pubs.
You activate in the electronica music field under various monikers: Alien Pimp, Sonic Tonic, Marginal. It's a case of multiple personalities, multifaceted ego or you feel you're living at the intersection of different universes and you choose to play a different role under a different name for each one of them?
I released music under much more monikers. The alias doesn't reflect the physical identity of the author, but the conceptual identity of the project. E.g. Alien Pimp is the one who brings a superior way of pimping, at energetic and emotional level. As opposed to the general perception, which is our reality projected into space under the form of a green little man covered in bling. First you get amused by your own projection of it, then maybe you get in touch with my alien perspective on it. Marginal is the under-dog that makes the difference. In reality not an uderdog, but within its own artistic paradigm it is whatever it wants to be. And so on...
"Bass music it's not a genre, same way not collecting stamps is not a hobby."
Though you mentioned countless time that you don't stick to a single electronic music genre, it seems you're mostly on the bass music side. How do you explain this constant relation you have with bass culture?
Bass music, as I've been pushing it for the last 3-4 years, it's not a genre, same way not collecting stamps is not a hobby. Bass music is all electronic music built on a fat layer of bass. It encompasses all genres and unites all music on a different criteria: ground-shaking, chest rattling bass is what we prefer. Not what we're limited by. That's exactly why the name is not more specific than this.
There's a funny transition from the B movies vocal excerpts used in early drum&bass music to the current almost omnipresent random pitched post-burial kind of treating vocals. It seems this effect introduced the voice as a way to humanize bass music and to add it a, let's say, more feminin, if not androgin side. What do you think of those small transitions that made bass music what it is today as opposed to what used to be in the jungle/ragga era?
I don't have time for this, I don't participate in these cycles anymore, I just absorb and use anything that helps a track achive what i want it to achive (originality included). Anyway, whatever rocks your boat, means are irrelevant, i only care of the final product. Make sure it's worth people's time.
What you mean by cycles?
It's a loop: one dude comes up with the new trick, then it gets milked to death, then everyone gives up on it, then a new generation re-discovers it, then...
I can't afford to have these fads dictating my artistic decisions, that's a job for my inspiration, my mood and my instincts.
What I always do, what the label's motto says: "Bass, Spirit, Character". But also tried to remind of the past and give hints about the future.
I saw a Chilian (Dimito), a Bulgarian (Balkansky), a Romanian (Vlad Onu).. who are the others? It's like a reunion of most talented outernational bass music artists, most excentric in terms of country of origin?
Hehe, Dimito is a friend from Barcelona who's just exploring life in Chile now. One of the most promising new names in our camp. We are more global than the NWO, baby!
Speaking of origins, where's now the centre of bass music?
The center of bass music is in your chest.
Now, I know it's a silly question to ask an electronic music artist what this or that tunes means, 'cause one can't translate logically and rationally all the feelings, thought and small decisions that make a track comes to life. But, for the exceptionally track Constantin Brancusi, what was the context?
It's a combination of many things that contributed to this outcome, many difficult to explain indeed. I kinda modeled that track the way I imagine him modelling clay or rock. I resonate a lot to his aesthetics. I am very visual, 3d visual. And, as a discrete wink from the universe, the day I made it public was just before his b-day, it just happened, I was unaware of it at the time.
The only form of resistance against consumerism is not consuming more than you really need. The rest is marketing. Bass music tries to resist boring shit and party poopers. Maybe.
Any trip advices for electronic music fans, to Spain, to inner self or whatever important destination?
Yes, go to Spain, to inner self or whatever important destination. The more you move, the more you interact, the more you learn, the more you understand, the better you can harmonize with the Universe. Experience is the only aquisition that constantly keeps growing in value.
"The only thing I have ever wanted to accomplish: to create thousands of interactions that generate deep emotions and thoughts."
What's your biggest achievement? And the biggest disappointment?
Biggest achievement: waking up from the mass halucination called human culture and finding some inner peace. Biggest disappointment: how humans fulfill their potential.
What do you think you've accomplished these years (in terms of sound, personal development, gigs, line-ups, connections etc.)?
The only thing I have ever wanted to accomplish: to create thousands of interactions that generate deep emotions and thoughts, improvement, and the sensation of quality time.
How do you see the evolution of clubbing relating to bass music and to EDM in general?
Highly connected to the social and personal evolutions. Which are generally involutions right now.
Any suggestion for the newcomer artist wanting to make a career out of music?
Define career and see if it's what you really need. Then build it like a track, so you can make music out of your career. Alien pimping.
What are you're plans for the future?
To live more in the present.
If you're kind to say something to our/your readers?
Fight what you don't like by supporting more what you like.
Thank you for the interview!
You could've spent this interview time watching TV. You have voluntarily contributed value by chosing otherwise. Big up and much thanks for that!
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Muzica romaneasca: de la slagar, dozator si revolta, la hituri
Muzica romaneasca: de la slagar, dozator si revolta, la hituri
Buna trecere in revista a evolutiei muzicii romanesti si al scurtului drum de la Mamaia la Edward Maya via baietii de cartier, cu interviuri ale unora dintre actorii principali: Teicu, Duta si Deliric1.
"Este 14 iulie 2010: se sinucide Madalina Manole. Moartea „fetei cu parul de foc” marcheaza un dublu sfarsit tragic: se incheie, acum, un destin personal dramatic, dar ia sfarsit si un destin colectiv. In mod simbolic, fara exagerare, la acea data se poate scrie si certificatul de deces al muzicii usoare romanesti, dupa ani grei de agonie. Gestul extrem al unei artiste ce odata a cunoscut succesul in inselatoarea industrie a muzicii, dar care in anii 2000 trecuse intr-un con de umbra, nu face decat sa arate ca muzica a mers la fel ca societatea romaneasca.
De la „Magistrala albastra”, la folkul „Cenaclului Flacara” si la odele de la „Cantarea Romaniei” in comunism, s-a trecut rapid, dupa 1989, la dozatorul TEC, la razvratire si zvarcoliri si s-a ajuns, azi, la un produs de export consistent, desi dezbracat de limba romana." (via Romania de la zero).
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