martes, 15 de enero de 2019

Club Ritmica para Casi Baile


Estrenamos el año con una sesión de tonos oscuros e intimistas difícil de clasificar que está compuesta por una selección de caras B y sonidos marginales salidos de la colección de discos del dúo lituano Club Ritmica.



Club Ritmica es la historia de Ignas y Paulius, amigos de siempre cuya pasión por la música, iniciada en su pequeña ciudad natal, los vuelve a juntar años después en la capital.  

Club Ritmica van fuerte, y prueba de ello es su reciente visita a Berlín en la que se han dedicado a esparcir su magia por diversos eventos de la ciudad; desde pinchar junto a Kris Baha y Hoff en la tienda de discos Sound Metaphors, con discos seleccionados in situ, a compartir noche en Sameheads con Rugilė y Gamma Intel.

Ellos son parte de esa subcultura emergente Lituana que tanto se está haciendo notar últimamente. Estamos muy contentos de poder brindarles nuestro apoyo y muy agradecidos por su confianza.  

Gracias Club Ritmica! Nos vemos en Vilna o en Barcelona?!  


La imagen es Nico & Mercedes, parte de la serie Family del fotógrafo estadounidense Chris Verene.



To start this year a hard to classify dark toned and intimist mix that is composed of a B-sides and marginal sounds selection from the record collection of the Lithuanian duo Club Ritmica.

Club Ritmica is the story of Paulius and Ignas, long-lasting friends whose passion for music, that started in their small hometown, reunited them years later in the capital.

Club Ritmica is going for it, and proof of this is their recent visit to Berlin in which they have dedicated themselves to spreading their own magic through diverse events in the city; from DJing with Kris Baha and Hoff at the Sound Metaphors record store, with an "in situ" record selection, to share a night at Sameheads with Rugilė and Gamma Intel.

They are part of that emerging Lithuanian subculture that even more is being putted in the limelight. We are happy to support to and very grateful to their trust. 

Thank you Paulius and Ignas! See you in Vilnius or Barcelona?


The picture is Nico & Mercedes from Family series by the USA photographer Chris Verene.



Tracklist
1. Jorge Reyes - El Despedimiento - El Costumbre - Grabaciones Lejos Del Paraiso - 1993 - buy
2. Martin Kornberger & Volker Kuhn ‎- Fiebertraum - Embrace - Orbeatize - 2017 - buy
3. Void - Radio - Cold Waves Of Color Volume 2 (UK new wave post punk electronic 1981-1985) - Color Disc - 2015 - buy
4. Keller - Lapcej
5. Kojos Sopa - Humuku - ORGANIHUM - Soundtracks Of The Mind - 2018 - buy
6. Nebulo - Motifs - The Safari Suites Vol. 01 - Odd Frequencies - 2015 - buy
7. Demolition Group - Beautiful Side I. - Mizerika - Hiara Records - 1988 - buy 
8. A Thunder Orchestra - Diabolical Gesture - Untitled - Climax Productions - 1988 - buy 
9. Maoupa Mazzocchetti - How To Hate You Without H? - Gag Flag - Editions Gravats - 2018 - buy
10. Harmonious Thelonious - Sketches - Ayranman EP - Disk - 2017 - buy
11. Ingus Baušķenieks - Spoki - Spoki - STROOM 〰 - 2018 - buy
12. Rolf Trostel - Der Prophet - Der Prophet - Uniton Records - 1982 - buy
13. E.M. Machinetool - Kryoskopie - Silence, Dance & Nervous - Bestattungsinstitut - 1989 - buy

Interview

Casi Baile - Names
 
Club Ritmica - Paulius and Ignas 



CB - Where are you from?
 
CR - We’re both and born and raised in Lithuania, actually coming from a relatively small town, where met through the interest in music.



CB - Where are you based?

 
CR - We are currently based in Vilnius. There been times when we lived in different countries and had a chance to meet only several times a year, so we had to save friendship and hold a good connection through the web.



CB - What is Club Ritmica about?

 
CR - Club Ritmica is by biggest part about long-lasting friendship translated through music we love, shared with the people we like.  While putting in terms of a theme, we rather be unexpected not knowing where it’s gonna lead than be persistent for ultimate goal to satisfy the crowd. Djing is an art form and we got our own definition of how it should be expressed. We have participated and played plenty of different parties & in each seperately, the atmosphere varies from african tribal tunes, soft italian synth-pop to EBM classics and more. That’s what gives us goosebumps & thrills before the gig.



CB - When did you started with club rítmica project?

 
CR - Without a name, it exists since 2006. We both were still going to high school in that time, but school wasn't the biggest interest by no surprise. From the beginning, we were charmed by people creating music, going on tours, doing what seems to be a good story to tell once you get old, hence we kept curious of what’s going on in the music scene and continue digging, which naturaly opens new horizons. As mentioned above one of us had to move abroad due to studies, so that was a time for each to develop a personal taste and explore unexplored. After years, we moved to capital of Lithuania and teamed up again for a good story to continue.



CB - What was the motivation behind it?

 
CR - Every dj knows the feeling of receiving new records on a postbox or finding something beautiful that you thought never exist. It’s like another birthday just any time of the year. I think since the beginning motivation never changed - create a memory that can be remembered. it can be a track, dedicated dancer or even the color of bartender’s hair. It’s important to have internal vibe for two dj’s to play together. Therefore, we enjoy time playing together, we both love to collect those memories, which can be shared with y'all. Eventually, it’s a quest for new sounds, people that surround us and people that we meet through our activity. That’s what make us motivated everytime we wake up.



CB - What other artists inspired you to create club rítmica?

 
CR - Patrick Cowley, Rolf Trostel, Don’t DJ, Tara in Tibet, Steve Pepe, Rex Illusivii, La Idee Du Femelle, Not waving, Charles Manier, D.A.F., Severed Heads, Dz lectric, Doxa sinistra, Carlos Peron, Maoupa Mazzocchetti, Das Ding, Alessandro Adriani, Cyrnai, Mad, Skinny puppy, Bear Bones Lay Low, Tav Exotic, Arte Moderno, Jorge Reyes, Muslimgauze, Throbbing Gristle, Deaf Goes East, Mutant Beat Dance, Ian Martin, Accident Du Travail, As Longitude, Cienfuegos, Eindkrak, MR TC, Parrish Smith, Roberto Auser, Neugeborene Nachtmusik, Vox Populi!, Credit 00, Jasss, Davy Walklett, Demolition Group, Exhausted Modern, you need more?



CB - What attributes must have a song to be included in one of your mixes?

 
CR - Most important it has to have soul in it. It can be produced even on the phone, we don’t care, we know how to do edits.  Every single gig or mix we did is a feeling first, no matter what year or how particular track was made.



CB - What do you enjoy about playing records?

 
CR - We work towards creating a good atmosphere to dance, we enjoy every single track we play and DANCE. In the modern times like this, it’s easy to get lost in the material you find through digging, but we never tried to engross nowadays’ trends to survive the party or be innovative.



CB - Any special technique/trick(pitch down, effects, edits,...) you use to make your mixes special?

 
CR - We like oldschool type of DJing, so we use cool tracks or its elements for all the effects to create. Although, low pass filter is always nice. 



CB - Do you play in a different way comparing for example a mix recorded for a site like casi baile versus a live dj set in a club or  another place?

 
CR - Like a vinyl has two sides - A and B. The mixtape we have recorded is considered more like a collection of B sides. Little bit more obscure and perfect to listen to inhale your personal magics.



CB - How do you both face a live dj set, do you talk about which kind of music you will play for example?

 
CR - Basically we only decide the starting tempo, and music we constantly share to each other, so we know what’s up.



CB - What did you want to show with your mixtape for casi baile?

 
CR - We wanted to create an atmosphere that both welcomes and warns. It’s kind of diverse, but we like experimenting.



CB - Any recent memorable performance?

 
CR - Most recently, we payed a visit to Berlin’s finest Sound Metaphors records store (recording here), where we played a sincere hour of the records we find interesting. Same night we shared a booth with an eclectic lithuanian dj who’s residing in Berlin Rugile and Amsterdam's Dark Knight - Gamma Intel @ Sameheads. Must say, only good vibes there!
 

viernes, 7 de diciembre de 2018

Casi Baile #25

 

¿Que fue antes el ritmo o la melodía? 

Pulsión
Pulsación
 
¿Acaso no está el ritmo contenido en la melodía y viceversa?
 
Pulsación
Pulsión

¿Qué es la melodía? ¿Qué es el ritmo?
¿Puede uno explicarse sin la otra?

  
Pulsión - Pulsación
Pulsación - Pulsión

Pulsión - Pulsación 

Patrones
Estructuras
(I)rregularidades  

Composición

Conjunto de vagones que forman un tren
Conjunto de líneas, galeradas y páginas

Agrupar y combinar los elementos necesarios

Cualquier abstracción se vuelve lógica mediante su repetición

El beat puro como forma primitiva de la música 
¿Es el orden y la lógica un estadio primitivo de la inteligencia?

 
¿No somos                 
          
capaces 

                                    aún    

         de 

                      entender 
                                               el
caos?                   
   

La música la inventó un idiota con trastorno obsesivo-compulsivo


Las matemáticas están presentes en las formas de la naturaleza

 
¡¿?!

 
Pulsión

Pulsación

Pulsión

Pulsación

Pulsación

Pulsión

Pulsación

Pulsión


.


¿Qué fue antes el cuerpo o el alma?

...


La imagen es parte del libro Composition del fotógrafo aleman Jochen Lempert.
 


What comes first, rhythm or melody?

Pulse*
Pulsation.

Is not the rhythm contained in the melody and vice versa?

Pulsation
Pulse

What is melody? What is rhythm?
Is it possible to explain one without the other?

Pulse - Pulsation
Pulsation - Pulse

Pulse - Pulsation

Patterns
Structures
(I)rregularities

Composition

Set of wagons forming a train
Set of lines, galleys and pages

Group and combine the necessary elements
 
Any abstraction becomes logical by its repetition

Pure beat as primitive form of music
Is order and logic a primitive stage of intelligence?


We are not              

able                                                     

yet                                    

             of                          

              understand                                                     

                               the     

chaos?           


Music was invented by an idiot with obsessive-compulsive disorder

Mathematics is present in the forms of nature


?!


Pulse

Pulsation

Pulse

Pulsation

Pulsation

Pulse

Pulsation

Pulse


.


What comes first, body or soul? 
*Freud's drive in original spanish
...


The picture is part of the book Composition by German photographer Jochen Lempert      




Tracklist
1. Real Banda de Gaitas de Ourense - Paso de Tambores de Semana Santa
2. Klaus Weiss - Dirt-Track - Sport Sequences Vol. 2 - Sonoton - 1982 - buy
3. Fizzè - Cuisine - Kulu Hatha Mamnua - Mensch Records - 1987 - buy
4. Dolo Percussion- Dolo 2 - Dolo Percussions - L.I.E.S. (Long Island Electrical Systems) - 2013 - buy
5. Morenas - Cuando Brilla La Luna (Mr.Marvin Tribal Mix) - Cuando Brilla La Luna - DFC - 1992 - buy
6. El Michels Affair - Drums For Sale - Return To The 37th Chamber - Big Crown Records - 2017 - buy
7. Dolo Percussions - Dolo 9 - Dolo 3 - The Trilogy Tapes - 2018 - buy
8. Dj Normal 4 & Buffiman - Bonus Beatz - The 5 Elements EP Pt. 1 - Aiwo Rec. - 2017 - buy 
9. Golden Teacher - Diop - No Luscious Life - Golden Teacher - 2017 - buy 
10. Burnt Friedman - Uzu - Bokoboko - Nonplace - 2012 - buy
11. Tumblack - Caraiba (Intro) - Tumblack - Keku Wahye Keyah - 2016 - buy
12. Mark Spn - Polyarrythmics - Bokoboko - Lurid Music - 2018 - buy
13. Pheeroan Ak Laff - 3 In 1 (Daphni Edit) - Frabriclive93 - Fabric - 2017 - buy
14. Wolf Müller & Niklas Wandt - Ein Afrikadelle Danke - Instrumentalmusik Von Der Mitte Der World - Growing Bin Records - 2018 - buy
15. Repercussion Unit - Dream Toon - I Need Again - CMP Records - Nonplace - 1987 - buy
16. Golden Teacher - What Fresh Hell Is This? - No Luscious Life - Golden Teacher - 2017 - buy
17. Toshiaki Tsushima - Ape Society - Ogaku 70(V. A.) - Hiruko Records - 2011 - buy

jueves, 8 de noviembre de 2018

Spatz Habibi para Casi Baile



Sophie Funke y Pete Littlewood, ella de Weimar y el de Lincolnshire (Inglaterra) se conocieron trabajando en un bar de Berlin. Tras el turno de trabajo profundizan su relación compartiendo música y vodka, precipitándose todo en un nombre elegido al vuelo y una fecha concreta para debutar juntos a los platos.  

Su motor principal es coleccionar discos y de ahí nace todo; visitar las tiendas de discos, encontrarse con amigos, unos hacen música otros tienen sellos discográficos. Compartir e intercambiar, formando una pequeña comunidad.  

No es de extrañar que Sophie y Pete acabaran por crear su propio sello discográfico para participar mas activamente de esa escena, y no solo haciendo discos pues son muy dados a organizar eventos y conciertos. Desde su nacimiento en 2014 Polychrome Sounds a contribuido notablemente a hacer crecer esa familia con referencias como Oha Aho, Naphta, Cummi Flu, Mystical Communication Service, L’Orchestre Du Montplaisant, Karpov Not Kasparov y Peter Power.  

Tras varios años siguiendoles la pista y disfrutando de su particular enfoque musical, es un verdadero placer recibir ahora a Spatz Habibi en nuestra propia familia.  

Danke Spatz Habibi!  

La imagen es night001 del fotógrafo español y amigo Juanpe.



Sophie Funke and Pete Littlewood, from Weimar and Lincolnshire (England) respectively, met working in a bar in Berlin. After his shifts they deepen their relationship by sharing music and vodka, and choosing finally a name for his debut date at the desks.

His leitmotiv is to collect records and that's the start of everything; visit the record stores, meet friends, some of them make music, others have record labels. Share and exchange, forming a small community.

It is not surprising that Sophie and Pete started their own record label to participate more actively in that scene, and not only making records, they really love to organize events and concerts as well. Since its birth in 2014, Polychrome Sounds has contributed significantly to making this family grow with references like Oha Aho, Naphta, Cummi Flu, Mystical Communication Service, L’Orchestre Du Montplaisant, Karpov Not Kasparov and Peter Power.

After several years following and enjoying their particular musical approach, it is a real pleasure for us to receive Spatz Habibi now in our own family.

Thank you Sophie and Pete!

The image is night001 by Spanish photographer and friend Juanpe.



Tracklist
1. Niklas Wandt & Cass - V - Unreleased Track
2. Krokakai - Bodhrán Beat - Bodhrán Beat - Not On Label - 2018 - buy
3. Herhangi - Tree of Life - Earth Calling - Not On Label - 2017 - buy
4. Wolf Müller & Niklas Wandt - Lockerina - Instrumentalmusik von der Mitte der World - Growing Bin Records - 2018 - buy
5. Coobe - Alata - Vastechoses - Movie Makers - Tofistock - 2018 - buy
6. Olsvangèr - Trequ D - This Is Tom Tom Disco Vol IV - Tom Tom Disco - 2018 - buy
7. JP Soul - A.L.E. (Two Mamarrachos Remix) - A.L.E. - Nein Records - 2017 - buy 
8. Coobe - Ashmadai - Rotten Citizens Vol.3 - Rotten City Records - 2018 - buy 
9. Leonor - Nirvana - Disque Natif - Tom Tom Disco - 2018 - buy

miércoles, 3 de octubre de 2018

Vactrol Park para Casi Baile



Vactrol Park explora la física del sonido y no está pensado para soportes y tiempos de escucha rápida como son cada vez mas frecuentes en nuestras vidas. Es música compuesta de infinidad de elementos generados por sintetizadores modulares construidos por ellos mismos, grabaciones de campo, cajas de ritmo, etc. que se despliegan por el espacio que los contiene afectándolo drásticamente, como ocurrió en su actuación para Disco not Disco en el club 20/44 de Belgrado donde el público no podía dejar sus bebidas ni un momento en la mesa porque los vasos acababan cayendo y rompiéndose por las vibraciones del bajo.  

Ellos son Guido Zen y Kyle Martin, viven en Londres aunque vienen de Italia y Escocia respectivamente, y forman parte de una escena formada por multitud de bandas y proyectos que comparten y alternan. Arcade Audio Assault System, Brain Machine, Exciter, Gamers In Exile, My Selfish Desire, Potter Natalizia Zen, Land Of Light, Spectral Empire, Spirit Bear Mezcal Ensemble, Cassini Division, presentes, pasados y futuros.

La sesión que han hecho para Casi Baile está fuertemente influenciada por el estilo inicial de los mixes Ninja Tune Solid Steel de DJ Food mezclando tres o cuatro canciones al mismo tiempo y añadiendo grabaciones de campo y ritmos propios para generar el ambiente profundo, suave y psicodélico de sus producciones. 
Ha sido una de esas experiencias interesantes que surgen de lo inesperado, ya que es algo que no habían hecho antes juntos y Guido ni siquiera pinchaba. 
El resultado nos parece realmente sugestivo e "inmersivo" y os invitamos a disponer de tiempo y conectarlo a un buen sistema de sonido o auriculares.

El futuro próximo de Vactrol Park es en el estudio y continuar trabajando en próximas publicaciones aún sin fecha prevista, aunque ahora mismo puedes disfrutar de su ultimo LP para Malka Tuti titulado Music From The Luminous Void.

Esta vez hemos querido incluir la entrevista que les hicimos al completo porque, pese a nuestras preguntas aburridas, Kyle y Guido hacen un recorrido muy esclarecedor a través de su trabajo y procesos, en un tono muy cercano y honesto que nos ha conquistado.

Sigue leyendo la entrevista completa aquí. 

Muchas gracias Vactrol Park!

La imagen es un detalle de Light Drawing I de la artista transgenero Jonah Groeneboer.



Vactrol Park explores the physics of sound and is not intended for a fast listening in small sound systems or laptops, something that is becoming more frequent in our lives. This music is made up of an infinity of elements generated by DIY modular synthesizers, field recordings, drum machines, etc. that are deployed through the container space, affecting it drastically as it happened in their live performance for Disco not Disco at 20/44 club in Belgrade where public couldn't put their drinks down because the bass knocked all the glasses over.

They are Guido Zen and Kyle Martin, they live in London although they come from Italy and Scotland respectively, and are part of a scene plenty of bands and projects that they share and alternate. Arcade Audio Assault System, Brain Machine, Exciter, Gamers In Exile, My Selfish Desire, Potter Natalizia Zen, Land Of Light, Spectral Empire, Spirit Bear Mezcal Ensemble, Cassini Division, present, past and future.

This mix for Casi Baile is strongly influenced by the early style of Ninja Tune Solid Steel mixes running three or four tracks at the same time and adding some field recordings and extra beats to retain the smooth flow and deep trippy style of his productions.
It has been one of those interesting experiences that emerge from the unexpected, as it's something that they hadn't done before together, particularly Guido who doesn't play records as a DJ.
We find the result really suggestive and immersive so we propose you to take your time and use a good sound system or headphones.


What's next for Vactrol Park is being cooped up in the studio to keep working on forthcoming productions with no publication dates, although now you can enjoy his latest LP for Malka Tuti titled Music From The Luminous Void.

This time we wanted to include the complete interview with them because, despite our boring questions, Kyle and Guido make a very enlightening journey through their work and processes, in a very close and honest tone that has conquered us.

Check the full interview here.

Thank you so much Guido and Kyle!

The image is a detail of Light Drawing I by transgender artist Jan Groeneboer.



Tracklist
1. Bhob Rainey - When you Talk, You Hear From The Other Side - When you Talk, You Hear From The Other Side - 3P - 2013 - buy
2. Coil - Everything Keeps Dissolving - Coil Presents Time Machines - Eskaton - 2000 - buy
3. 33.10.3402 - 33.10.3402 - 33.10.3402 - KUNSTKOPF - info
4. Desmond Leslie - (Sound Effects and Samples) - Music Of The Future - Trunk Records - 2005 - buy
5. Edanticonf - Forest Echo - Forest Echo - Silent Season - 2012 - buy
6. Voices From The Lake - 01.12 N. - Voices From The Lake - Prologue - 2012 - buy
7. Laurie Spiegel - Drums - The Expanding Universe - Unseen Worlds - 2012 - buy 
8. Tangerine Dream - Sequent C - Tangerine Dream '70 - '80 - Virgin - 1980 - buy 
9.  Pauline Oliveros / Stuart Dempster / Panaiotis - Lear - Deep Listening - New Albion - 1989 - buy
10. Robert Rich - Untitled (Recorded live in Monterey, California, September 15, 1983.) - Live - Psychout Productions - 1984 - buy
11. Ryuichi Sakamoto - Life, Life - Async - Milan - 2017 - buy

+Various Field Recordings
+TTSH
+Roland D50

Interview

CB - Where are you from and where are you based now?

Kyle - I am originally from Scotland but live in London.

Guido - I grew up in a small town called Grottaferrata, very close to Rome, but I also live in London now.


CB - These are some of the projects you have been involved into:

   * Guido: Arcade Audio Assault System, Brain Machine, Exciter, Gamers In Exile, My Selfish Desire, Potter Natalizia Zen, Vactrol Park

   * Kyle: Brain Machine, Land Of Light, Spectral Empire, Spirit Bear Mezcal Ensemble


Anything you want to add to this large list?


Kyle - Yes, it's a few I suppose! Maybe I can add Cassini Division which I've released a few remixes under that monicker, there's one that just came out that I did for my friend Phil Banks at Forgotten Corner (it’s available on their Bandcamp page). Also I'll add Vactrol Park to the list, haha!

Guido - Well, I think you actually listed them all!


CB - Are you guys still working in some of these projects besides Vactrol Park?
Guido - At the moment I am involved in
Potter Natalizia Zen, with Colin Potter and Alessio Natalizia and Brain Machine where Kyle is involved as well.

Kyle - Yes, all my projects are still active except the
Spirit Bear Mezcal one maybe as that was a recording of a one-off live improvised gig. There is also a Spectral Empire release coming next month, on Malka Tuti!


CB - Did your paths cross for the first time with
Brain Machine?

Kyle -
Spectral Empire and Brain Machine were on the same label back in the day when Brain Machine was just Guido and Juan so our friendship and ultimately collaborations came about because of BM. However, the friendship came before working together!

Guido - in 2009 Kyle’s group
Spectral Empire did a remix of a Brain Machine track in 2009 but we met at a pub in London only a couple of years later when we started talking about synthesisers. In fact the day after I went to his house and bought a Moog from him! When I moved to London in 2013 we started playing in the studio where I brought the new modular synth I had and we got hooked to the jam sessions.


CB - How did it all started?

Kyle - Guido moving to London was how it all started really. We just started working on stuff and it turned into
Vactrol Park . After this we worked on the Brain Machine second album, Peaks. This was developed from some really old sessions that Guido and Juan had worked on.

Guido - Yes, we started jamming and recording in the studio and the sounds that came out slowly became
Vactrol Park. I guess it was a way of trying things that were a bit different from our other projects but at the beginning was also to have fun and to try new tools we had at our disposal.


CB - We love the work of Black Merlin (George Thompson), Kyle, you worked with him as
Spectral Empire and you did remixes for Brain Machine. Are you guys still collaborating with him in some way?

Kyle - Yes, George has great vision and it's a privilege to work with him and he’s a close friend! I mentioned above there is a new
Spectral Empire release coming. There are also sessions we did with George, Guido and I on the hard drive. Maybe one day we will get round to finishing those!! We are just all friends, when most people meet their friends they go to the bar or whatever, when we meet up, often we go to the studio!


CB - Do you currently collaborate with other artists?

Guido - Apart from my projects you mentioned I sometimes work with Seahawks and Wrangler. They are old friends of mine and I occasionally help out with some of their productions.

Kyle - Well one day Jonny Nash and I will finish some more
Land Of Light stuff! There's lots started but nothing finished yet... I'm excited to finish it though and we’ve revisited it recently!


CB - After
Brain Machine how did you came with the idea of moving just both of you to Vactrol Park project and what are the key differences with your former works?

Kyle - Actually we collaborated together first on
Vactrol Park. We decided to work on the Brain Machine album as we were working on lots of music in the studio anyway and on a roll. There are differences in all the projects musically. I mean if you take Vactrol Park and compare it to Land of Light, Spectral Empire and Brain Machine, they will sound like polar opposites. Sure, the collaborations play a big part in that and Guido is different to Jonny Nash and to George Thompson. However, if you pay attention, there is a theme and particular sound that runs through all of that work. It's there because I think probably because of the way I think about music.  I've collected vinyl extensively for 30 years and you go through many phases and your taste develops over time so it just depends what I'm into that day. Tomorrow it’s probably gonna be different! However, I'd say that the main difference with Vactrol Park and the other projects was in the exploration of our modular synths. Guido had just built his first one when we started working on VP and it sounded so good that I soon followed suit and built mine so I think it was natural that this influenced the music.

Guido - I think my approach is always quite similar when I am in the studio, I do more or less the same things all the time! I only try to adapt them to the different styles and to the vibe of the room in that particular moment. Therefore, the people involved make the biggest differences between the projects. In most cases, there are jam sessions and dub treatments involved.


CB - Most of the names of your projects seem to be related with something spiritual, cosmic/psychedelic. What do you try to express with your music and how would you define your music if you can put it into words?

Guido - I think the titles are an additional layer and I need to feel that the sound of those particular words matches the music somehow. They might give a suggestion but they are not always directly linked to the music. In the case of “Grottaferrata” being my hometown it’s actually the place we recorded most of that song when Kyle came over a few years ago. In general, I really like hypnotic music, music that changes the atmosphere of the room you are hearing it in, and I try to pursue this idea for all my works. I also like music that is recognisable from the first few seconds, so I try to give it a special and unique sound.

Kyle - Names are always something that comes afterwards with us. Usually it's a panic to get some names before the records go into production and I find it difficult to remember which track is which as I know them by the working titles usually! It works both ways though because over time I come to know them as the names on the releases and when I try to find on my hard drive later it is not so easy. Maybe other producers have this issue? Anyway, the actual names come from a broad spectrum, there's some names that are very personal, like names of the towns we are from for example! Other names are so random, like 'Disturbed by the Possibility of Someone' from our first EP came from blind pointing to a line in a book that was sitting in the studio. For me the music isn't really linked to the names so much.


CB - How did you start to be interested in music, especially in electronic music?

Kyle - I was unwittingly listening to cassettes of the old Street Sounds Electro compilations and things like that when I was 10 years old. I'm pretty sure that had an impression on me as I rediscovered those records later on and really remembered them. Also, my father was an amazing musician so music was always around.

Guido - Strangely enough the TV series “Fame” where the character Bruno Martelli played synths instead of classical instruments probably got me into synths for the first time when I was in secondary school. Then I started playing in bands as a keyboard player and my dad kindly bought me a DX7IIFD. It’s such a great instrument and complex and spent countless hours programming new sounds copying the data from two books I bought. Later on, thanks to some close friends I got into a lot of different things that had an important electronic music element like Pink Floyd, Tangerine Dream, Scorn, Nine Inch Nails, Kraftwerk, Ministry, Brian Eno’s ambient works, Aphex Twin, Coil and so on.

I also did a government founded computer music course back in 1992-93 and one of the teacher Luca Spagnoletti was particularly inspiring in his approach and that’s when I bought my Atari 1040 and a sampler.

I am very happy that we finally collaborated together on our new LP where he played flute on two tracks.


CB - We guess you work very close to hardware synthesizers and machines, listening to your productions they sound so fluent that it look you just jam with the machines and let them go waiting for some beautiful accidents to happen. What is the way you produce your music? Are computers, plugins, traditional instruments and other kind of recordings involved?

Kyle - You’re opening up a can of worms asking us technical stuff, we will bore your readers to death, haha! We use everything, hardware, plug ins, percussion, miked instruments, field recordings etc. There is a list on the back of the album you can see actually. But you could say that the focus is on the modular synth. Many of the devices we use we built ourselves and Guido has designed a lot of the plug-ins we use so this hopefully gives us a unique sound. We feel that the recent advent of solid connectivity between modular synths and computer is paramount to how we work, especially playing live.

Guido - Yes , we use everything at our disposal in that particular moment, but mostly it’s been the sound of modular synth and Kyle’s drum machine Acidlab Miami. There’s certainly a lot of improvisation in our music, but we also rework a lot of the early ideas transforming the sounds again and again with effects, putting it thought the modular synths and many plugins as well. We are not very purist in this sense and until we are satisfied we keep working on the sounds.


CB - How the idea of a song start, do these ideas follow any rules or requirements to be candidate for a vactrol park song?

VP - There’s no formula or rules but we usually start with some sort of jam and maybe run a few sequences, drum machine maybe. Then we go back and build up layers, recording effects or running sounds back through filters. All the while we will be mixing the sounds with plug ins and tweaking arrangements. A lot of consideration goes to how the tracks flow and as the sounds are mostly recorded as long takes there is usually a lot of deconstruction to do to arrangements taking stuff out. It takes a long time. Also, we work on several tracks at the same time which is good to give a bigger vision of where the project is going. I think what we usually try to convey is a hypnotic environment of sound that envelopes the listener, where hopefully sonically you feel something different. That's why our music might not work so well on laptop speakers to get the experience we want our listeners to have. Also, people tend to skip through tracks these days, listening to 10 second snips. This doesn't work for us and people who do this with our music might not get it. Linear listen on a good sound system or headphones should get you there!


CB - What are your favourite machines and why?


Kyle - Definitely the ones we built as we have a very personal connection to them. You earn them. Also, I haven’t built anything I’ve not really liked the sound of so they get used a lot.

Guido – Like Kyle, definitely the machines I have built which are the modular synth and a few different boxes like filters and effects I had built previously. Another favourite of mine is definitely the computer. I don’t think I’d be able to make music without it. I have been used to using it for the past 20 years and I like the fact that in one box you can do so many things.


CB - We’ve seen a video of a live performance you did in Belgrade for Disco not Disco and the show looked amazing, what can people find in one of your live performances?

 
VP - Yes, we really enjoyed that gig! What you couldn’t see on the video was apparently nobody could put drinks down at that gig as the bass knocked all the glasses over! The great thing about 20/44 is they have a really open-minded view to music in that place, it’s very special, testament to those guys in Belgrade! We come back really inspired after listening to (resident) Nebojsa dj.
Our live performances are quite improvised so it’s never the same twice and we try to play it how we feel it. So, sometimes a bit more drum machine driven, sometimes a bit deeper and stretched out. Sonically we try to push as much as we can. Our current set up uses modular, looper, drum machines, 303 and computer. 


CB - Are they different depending on the place and the moment?

VP - I think something magic can happen sometimes


CB - Any coming shows?

VP - Back to the studio for now. 


CB - Do you Dj often? If so, how do you enjoy live performance VS dj?

Kyle - I djed a lot in the past and I suppose I’m dipping my toe in again recently. I have quite a lot of vinyl.

Guido – I don’t! I am a terrible Dj and even if I did a few Dj gigs back in the late 90s I would rather not now.  I also don’t have so many records and I don’t think I am so up to date with new music.


CB - Tell us something about this mix for Casi Baile?

VP - We are really influenced by the early Ninja Tune Solid Steel mixes by DJ Food. We have tried to capture some of the spirit of those mixes, to mix up everything like they did so we have like three of 4 tracks running at the same time with the addition of field samples and extra bits we have added with our synths. This mix was a collaboration so there are tracks chosen by both of us and whilst there is a lot of mayhem going on we have tried to retain the smooth flow and deep trippy style that we think signifies our productions.


CB - Your first two EP were released on ESP Institute. Why did you release these two EP in two parts and not like a LP?

VP - Actually this is an interesting question as it feels like it was a two part album. There is a very consistent sound between the two. We can’t really remember why we released it like that but the second ep wasn’t done when the first came out. I think it worked well with the same cover as it feels like a series, credit to Andrew Hogge and Mario Hugo there!


CB - Now you are releasing on Malka Tuti, How is the EP called and when will it see the light? Any other releases coming next?

Kyle - The self-titled EP is available now and the album ‘Music From The Luminous Void’ is out mid-June. Also you have the Cassini Division thing and Spectral Empire things I mentioned.

Guido – I don’t have any other releases planned for now, but we are working on some new Vactrol Park music at the moment so we will see how it goes. I also would love to start working on some new Brain Machine and PNZ stuff. Hopefully soon.