As part of DE/FRAGMENT’s 10th release, focusing on the “emotional, ethereal and sublime aspects of intimate interpersonal relationships”, Douchean’s Just to be Clear offers listeners a life-affirming journey; through feelings of looking into the eyes of a significant other.
We live in a world where stopping and observing feels like a moral infraction. Panta rei, says Heraclitus, but believing in such a maxim blindly only leaves one with a bitter taste of a moment that went by too quickly, trampled by the unyielding march of Time. It is only human, perhaps an act of greed, to capture in one’s palm that which seeps through a fist’s grasp like sand, isn’t it?
Yet, in the nominal spirit of Warcraft’s greedisgood, successful greed results in art; captured moments from an individual’s qualia, able to be appraised (and appreciated) by others. I had the privilege of appraising (and appreciating) DE/FRAGMENT boss Douchean’s upcoming “Aphrodisiac” EP and choosing which track to premiere; a perk of officially joining the DE/FRAGMENT team last month.
As opposed to his other, heavier releases (such as DEFRAG003), Aphrodisiac offers a glimpse into a captured world of blissful existence, floating weightlessly and bouncing from soothing cushions of exalted emotional charge. It is a fitting ode dedicated to a person close to him, expressing appreciation and adoration for the feeling of comfort they bring to his being.
“Just To Be Clear” immediately struck me as “the one”. The track opens with a Sunrise over God’s own Earth, offering a clean start to whoever was there to bask in its greatness. You see, it doesn’t matter what happened yesterday, all the sins are washed away by the warmth of a morning Sun. Just like in relationships, all the hardships, fights, and disagreements no longer matter. All that matters is the serenity of the current moment.
As the track progressed, I was taken to a grass field on a crystal clear, windy, Sunny day. My right hand was in someone else’s hand, all the while playfully running with the person through the tall grass. The wind in the hair, the warmth of another – close to me – made it feel just like a magic trick of levitation. However, unlike the magic trick where the magic of the act is only felt by the audience, I feel as if there is no audience – this magic is shared with the one who holds my hand.
Suddenly, as the second breakdown of the track started, the world stood still. Entropy, as we know it, stopped changing. The person let go of my hand, turned around, and looked me in the eyes. They say that a picture is worth a thousand words, but I struggle to find a thousand words that could fully describe the blissfulness of such a moment.
Just as the Sun immaterializes all that has happened before, so do the eyes I stare at make me forget all the hardships I went through. “Just To Be Clear”, they whisper, “everything is going to be alright.”
The final piece of DE/FRAGMENT’s third VA compilation will make it complete. Stagnat conjured an offbeat techno driver, depicting empty, dark, and, at times, disturbing sonic spaces for clubs.
“DE/FRAGMENT presents seemingly unrelated
fragments bound by a common theme :
complete artistic freedom.”
– Douchean, DE/FRAGMENT’s founder
Operating as a label and club night organizer in Ljubljana, DE/FRAGMENT enjoys the privilege of unparalleled creative control for producers to play their material in a space they rent. Put differently, DE/FRAGMENT understands that the only way without compromises is one without middlemen.
The collective is set to release its third VA compilation [DEFRAG009] on 8/12/2023. It will contain a respectable diversity of sound fragments from prolific Slovene underground talent. Put bluntly, individual statements of artistic intent are expressed as no-nonsense club material.
Yet, I wasn’t satisfied with any of the pictorial descriptions for the sound that I could come up with. They sounded right at first but would fall short of capturing the full essence of the release. None of these descriptions were far off, either, missing the target by a small margin. A margin, nonetheless.
The pattern/binding glue/common denominator of the release was evidently present, though evading any and all attempts on my behalf to give a name to the pattern I saw. I had an embarrassing amount of tip-of-the-tongue promises that sadly never left the tongue, forever lost to the ether of linguistic ambiguity. I have to admit that I found intriguing both the challenge of finding a satisfactory binding agent, as well as figuring out why is this a challenging read. What followed was an undisclosed amount of time getting stuck in thought loops.
First, I tried to find the pattern by looking at the cover photos of releases side by side. Surprisingly, it immediately became clear the pictures have something in common. However, as soon as I tried describing the common thread as a pattern with a name, the idea fell apart like a house of cards, tearing down tactful nuances with a strong wind a definition’s rigidity. Back to square one.
For example, I might see a clear color pattern arising in one of the photos corresponding to synergic color palettes, but I cannot transfer the pattern to another photo and its colors. Answering the “what is the color pattern” question correctly for a given photo would be a short-lived victory. The idea that a valid color pattern across releases would immediately collapse as soon as I looked at another release. Being a stubborn pattern searcher, I looped through this cycle many times before deciding to try the auditory route. Little did I know…
Onwards I marched to DJ listening through fragments to reach a whole. Paradoxically (or even expectedly at this point), I undoubtedly hear the tracks carry manifestations of a singular substance, yet I find it impossible to describe the underlying substance satisfactorily (now that’s a pattern). It seemed there was a more sublime explanation of why I saw cohesion in the way I approached the task at hand.
It’s frustrating, to say the least, to constantly experience a feeling you cannot name! I was getting tired of the thought loops that I would promise not to fall into again, only to be stuck in another 10s later, as I saw another pattern. At this point, repeated failures might mean I am using the right tool for the wrong purpose, or vice versa…? Maybe I was asking the wrong question?
The question itself wasn’t wrong, but the level of analysis definitely was, as the thought loops resulted from searching patterns in data, but that would be only one possible explanation. What if, say, the patterns are not identical, but the process that generates them is?
Turns out, assuming the aesthetic’s patterns are inspired by the process of defragmentation of hard disk drives (after which DE/FRAGMENT was named) was the first breakthrough. In essence, hard disk drives store digital data using physical space. However, sometimes data gets divided into “fragments”, which get stored at different physical locations. This is why two seemingly distant fragments might have originally been part of the same whole, while two seemingly close fragments could have nothing to do with each other.
To reduce physical distance as the inter-fragment similarity increases, we perform the process of defragmentation. It is conducted by moving fragments’ physical locations closer to other related fragments in a way that minimizes the number of remaining fragments.
Taking inspiration from progressive rock, DE/FRAGMENT’s releases place emphasis on a carefully curated order of tracks, making the track order a form of defragmentation. Suddenly, it is the ordering of the tracks that generate meaning through their very own defragmentation. What seemingly used to be composed of track fragments with nothing in common is now given meaning by a carefully chosen progression within a release. Not only that, but I can finally describe to myself what I hear by finding the static-generating process. Beautiful.
The mystery of cover photos resolves itself too. Assign each track a visual element, and then recreate visually the track order of the release. This means that there is no given visual pattern that persists between releases, but the process of generating an image to represent the release does. Ta-da!
In short, the releases’ visual aesthetic should represent a visual relationship of ideas conveyed through auditory experience. Defragmentation within and between sensory modalities.
DE/FRAGMENT.
DE/FRAGMENT.
DE/FRAGMENT’s V.A.3 (DEFRAG009) is almost complete.
Electronic Tesseract has been given the honor of premiering the final fragment, Stagnat’s – We Better Stop Here Because The Horses Are Dead. Edgy, driving peaktime for those who want their minds to be swept away into a rabbit hole.
Reminiscent of Slovak offbeat productions, such as the weighty DJ Boss, action starts immediately in form of a perfectly executed combat roll. Would it sound more tense if you combat rolled of your horse, which died mid-gallop, and immediately broke into a run for your life.
The heart is pounding to the percussion, periodically deafened by the background screeching of curses carried by the wind. As a long-term survivor of this land, the fast-paced kicks instill a killer resolve to keep moving forward no matter what, even if the horses are dead.
This track will turn any club into a massacre through a merciless groove that stops for nothing, especially not the horses.
Exhibet cultum deus ex machina. Interim fit aliquid.1
Tired from the “elbow mentality” of the music industry he worked in, Ravn Jonassen founded Burial Soil in 2018 to connect the two worlds of “amazing forerunners and exciting newcomers” in the music he loved2. Joining forces with the young, but exceptional Negrolator X, the two of them established a phenomenal track record for the project in a very short period.
Burial Soil quickly developed into a recognizable electro-techno name as a label where one can find exceptional tracks signed by the likes of Manao, Jensen Interceptor, Anthony Rother – to name a few.
However, Burial Soil also does party organization and curation, inviting electro icons like Cyan 85, whose set HÖR set we reported on, to play their parties.
basement_dubs visited their studio in Berlin and talked about their musical inspirations, the effect of COVID-19 on their art, the visual identity of Burial Soil and much more! Here’s what they had to say:
Gritty, urban, dreamy. All you could want from an electro record.
A bleak future awaits.
I love meeting new cyborgs, especially if they hail from the Balkan region of Old Earth. I met Nulla and dvidevat at a festival simulation on the NC-R5 Matrioshka Brain. They were responsible for frequency modulation at one of the stages, which left me thoroughly impressed. Not nearly as much as what I am about to show you.
Compiling sounds of their own creation into an EP, the girls describe themselves as one of the youngest producers from Ljubljana’s emerging electro scene. Let’s start off with Nulla. She is a network engineer specializing in espionage and recruitment of promising recruits into her hidden network. Very versatile and adaptive, her soundscape mimics her talents and showcases a broad range of frequencies she feels comfortable with.
Laszlo is a codename for a secret weapon using frequencies made to disassemble the opponents and weaken their footing. After a heavy barrage, it leaves the battlefield empty with diminishing laser sounds as its only trace of existence. Definitive contender for an opener in a dark and heavy set.
Modem is Nulla’s engineering skills at work. Everyone knows information is transmitted through infinitely small robots traveling at the speed of light. Nulla managed to track them down and is now fighting to gain control of them, as she needs to infiltrate a hidden government communication channel. The synths represent these robots fighting back against Nulla’s assault. Alas, the last bit of the track offers an undeniable truth: Nulla prevailed.
S.L.C. is my Nulla’s favourite track on this EP. It is an homage to the Matrix, times where a dystopian world was only called “science fiction”. I felt as if I am put in Neo’s shoes and have to make the decision to rebel. Do not hesitate when offered a hand to follow by the White Rabbit, the hole is much deeper than anyone ever conceived. Just so you know, nobody came back into the uninitiated world after taking the red pill.
Ambinet’s appropriate name combines ambient motives with sounds of the net. Nulla must have brought this one from the depths of her memory. To be precise, this track represents the exact moment she discovered the vastness and depth of the Internet. I envision her looking at transistors exchanging currents in one magical dance enveloping the whole Universe.
Finally, Lenticular is an anthem of all those who spend their nights looking at the starry night, far away from light pollution. It is tempting to fly away in a magical ship of consciousness in search of a better world, but it is easy to forget a simple truth. The beauty of the Tesseract is located everywhere, and it is required to lower our gaze and see Life in the eyes of our beloved.
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Her musical partner, dvidevat is the Emperor’s cook, her ability to spice her tracks giving away her trade. While Nulla is focused on electronics, dvidevat is focused on painting scenes from the rough world she inhabits. Revenge, prison, feeling of nostalgia for a lost youth are all part of her portfolio. She brings a more compact and recognizable sound, sticking to what she knows, but doing that at a very high level.
Dvidevat’s soundscape starts with Mistif, a peculiar anthem of those murky mornings after a club evening. Leaving behind a night of blurry memories, the day is young enough to give a blue tint to a sleeping city. Cold breaths are lost within the mist which announces the first Sun rays of the day and soothes the soul. However, there is an edginess to this track, probably remains of whatever we took during the night fighting for the last bit of stimulation.
Following the ambient goodness, PSH is dvidevat’s portrayal of a power struggle within the galaxy’s most notorious prison. Opponents have been eying each other for the past few weeks on who will control the kitchen. Tensions are at an all-time high, and the track pushes us into the conflict’s overture. The battle ensues whilst the warden is watching. He doesn’t care, the more victims, the less scum to control.
Next up is Kampak, my favourite track from the whole EP. I just can’t help but imagine myself as a veteran fighter pilot going through an abandoned city in search of a challenge. Arriving in the city, I start to race against myself through the skyscraper landscape. Sound-wise, it is a mix of old buildings vibrating to the sound of my jet engines coupled with an intimate conversation with my ship’s A.I. It is imploring me not to be so reckless. However, the adrenaline rush is a bit too hard to resist.
Last, but not least is Apropos, a search for blood. Our protagonist got his memory chip hacked, meaning that someone stole his memories. His quest leads to the lord of the acid underground, whose sole hobby is collecting memories in jars as trophies. The track is a verbal standoff between the two, a who-draws-first-wins situation. Intense stuff!
The girls did a fantastic job at moving my limbs into a frenzied state. I will be looking forward to exploring their future projects. Remember, fellow readers, case and point that it is never too early/young to be amazing. 0ver and 0ut.
Transmitted by Last Ronin, the monster crawling in the underground refuge.
Young cyborg who goes by the alias “Cyan 85” released an amazing compilation of sounds on the intergalactic frequency exchange area “HÖR BERLIN“. Binding the old skool with the freshness of youth, Mr. 85 delivers a series of punchy sounds, Drexciyan basslines, and funky melodies.
Cyan 85 is not only versed in building a narrative but he also delivers on the producing grounds. Our favourite frequencies are Set It Out, Bay of Sampieri, and Bassturbation as the ultimate dancefloor smasher.
For the rest of Mr. 85’s repertoire, check out his SoundCloud, as well as BandCamp! We leave you with a link to a ghetto delight of an EP in which Mr. 85 participated as well. It is a great gateway to other greats in the genre, such as Amadeezy, Textasy and others. See you in the Underground!
Transmitted by Last Ronin, the monster crawling in the underground refuge.
issu is a curious being. Hailing from a distant world located near the supermassive black hole Nuru’s event horizon, fighting against the fundamental forces of the Universe to survive is a core part of their experience. Therefore, it’s no surprise that his sound is shaped by a crushing change in oscillations, vibrations and soundwave densities to bring about a dark and pounding rhythm to sweaty bodies on the d-floor. Combining sounds crafted in forges of his home planet with deep space discoveries, issu helped the ET crew navigate through dangerous gravity pockets of Junuta on their journey to Truth. All while providing a kickass soundtrack full of wisdom embued with their heritage: a perceived moment can be eternal.
The three riders of the Apocalypse cooked up a nasty show for the Interplanetary Radio known as KSET. Located near the Martinovka Nebula, KSET is a place fueled by a radical ideology: let’s make something creative while having a blast! Starting off with a selector approach of homebrews mixed with foreign fruits, the rogue AI of many aliases known as Best Buy Guyd lights the first torch of the event. HBC continues with an expose of seismic bangers and potential differentials to electrify the crowd with a neatly crafted set. filozof steps up afterwards to join HBC in a trip to Old Earth and its ghettos with a glimpse of raw sexuality expressed in graphical lyrics and funky beats. Finally, filozof continues the journey alone and finishes off the show with a heavy hand of music inspirations from his favourite DJ’s and discoveries through countless hours of digging. Our advice is too click on any point in the show and let the gentleborgs take you on a journey spanning many emotions fluxing through the music which are not going away until the blood-oil stops pumping through our bodies!
Tracklist: Zagrebacki Električni – I dalje Altered Natives – Daddy’s Gone Anker – Danke (Part 3 Edit) House Of Black Lanterns – Midnight Caller Zagrebacki Električni – IchiNi Cki Cni FUSE – Logikal Nonsense Cutmaster T – ZGO Heavy Flow (RFMN Remastered Bootleg) The Exaltics – 00022.53.0.2 Reggata – Medicine Women The Exaltics – 00.254.003.7 2ndBestMen – Pumpido Star Safari – Space Junk Sifter Hawaiian Surfer – Elliptical Galaxy Mia Zabelka & Philippe Petit – Mia’s Ghost Separate Signal – First Zillion Reggata- Yesmen Zagrebački Električni – Bojler Zagrebački Električni – Ukratko DJ K1 – Just Don’t Understand (Global Darkness EP – Creme Classics 03) Detroit Grand Pubahs – Public Announcement EMGEac – ZG State of Mind Detroit Grand Pubahs – Jealous of a Dead Man Danny Notter – Livin’ Like There’s Always Tomorrow Above The Law – Set Free Brassica – Wryders Off The Meds – Belter Haider – Levitate Sansibar – Nolla PinballSpider – Angler Squid Textasy/Dj Di’jital – Deja Vu Bass Aloka – XTX3 DJ Boneyard – That’s Right Fastgraph – Zero in On You Partiboi69 – Hit Tha Brakes The Operator – Localhost Pt 2 MCR-T – Stxxpid Dumb Volruptus – Tesseract Cyan85 – Bassturbation Body Mechanic ft. B. Calloway – I Wanna Hyperqub3 – Kronos Deice Turrk Turkelton – Rock It Sansibar – Used To Live In Detroit (Boy Toy) DJ MELL G – Funky Papi Bitch Ass Darius – Get it Right ? – Let Em Buck Dj Rashad – Ride This Dick Traxman – Burn Da Roof Typhonic – Take It Off ? – Shake That Butt YTP – $UCC ME N JACC ME HOE B. Calloway – Jit Beat 2 DJ Assault – Shake It Baby DJ Godfather – Let’s Jit SALOME – Internet Ghost Sync24 & Radioactive Man – Eliptical Detroit’s Filthiest – My Soul to Take Amadeezy – Xplosive DJ Boneyard – Antipodean (Original Mix) Kronos Device – Below The Surface [Dynamik Bass System Remix] Gosub – Love from Planet X Chris McCormack – What Kind of Sound (Pt.1) Plant43 – Dormant Technology Pollon – Lost Souls (Mix) Assembler Code – Simulant Volruptus – Juggernaut Cosmonaut Skuum – FORZA Locked Club ft. RLGN – Nega Arashi Locked Club – Punk Nasvegda Aaron Carl – Down (Electro mix) False Persona – Subtraction Hermeth – Chameleon (DJ Frankie Remix) O – Wells – Park Jit The Aquanauts – Relentless (Xpect No Mercy Mix) Assembler Code – Outer Trace Floating Points – Bias (Mayfield Depot Mix)
A testament to humanity’s ability to make the Gods weep.
Aura Nox delivers a harsh criticism aimed at the imminent dystopia resulting from humanity’s self-serving agenda.
Immediately invoking the cry of Levana in the project’s title, the mirror image of our failure is reflected through water on her face: colonialism, exploitation, environmental degradation, oppression…
What was traditionally thought as the ultimate of animal (and anthropogenic) behaviour, childbirth is now shunned upon by our Creators as immoral and sickening. For this reason, we are staring into a future where nobody in their right mind would think to bring a new-born into a forsaken and broken world which will continue decaying long after we perish.
Welcome to a tale of harsh, gritty electronic riffs with accompanying hallow vocals to push home the insanity of the modern-day concrete jungle. Welcome to a world where the prison is our mind, disallowing for any sensible continuation of a search for meaning. Welcome to hell.
This harrowing, but eye-opening journey is divided into 6 distinct chapters: 4 original interpretations, and 2 reinterpretations by industry stars Black Merlin and Trenton Chase.
Starting off with Petite Mort, a tale of modern-day twisted reality, one is greeted by S_ROSE’s vocals. The voice gives off a sinister vibe, as if it is giving us permission to be violent. It found its way into our heads and is tapping into a hidden restraint and capability to induce destruction upon a fellow living being; to rob, to sow horror, to destroy.
Perhaps it is Levana herself going rogue, acting out in a hurt fashion similar to a spouse finding out one cheated on her: “GO AND BE WITH HER”. The message is hammered home by a penetrating kick pattern, completing the circle of violence and sealing our future.
Next up is A Sliced Up Pear, a personal favourite on this EP. One gets transported into a Mad Max-type future, where the underground mating rituals focus exclusively on pleasure and dominance.
The grittiness of the synth invokes scenes of debauchery and lawlessness, where one lives from pill to pill. Breathing room is scarce, and once it ends, the diabolical fluctuations return in full force. Horrifying and intense, this is a definitive peak club banger that will be ID-ed by all party goers for their personal soundtrack to the apocalypse.
Following the scandalous visions of Earth, we are greeted by Suspiria, a promise made by the Sky itself to us that salvation waits in the glittering particles in the vast night’s darkness. Putting all efforts into constructing a rocket called The Cure, we launch countless embryos into a leap of faith towards a better tomorrow in other clusters of the Universe.
The track’s E.R.P. -esque atmosphere paints portraits of planets we encounter on the way: barren, gold-brown with rocky circulating rings. It seems that the Great Ones left not Earth, but have left our World altogether, wherever it may be. All in all, a melancholic tune for all the lost futures.
Intuition is a definitive extension of Suspiria, and in my opinion, these two belong on the same side of the EP right after each other. The track represents arrival to a promising planet which we could call our home. The sound colours remind that the state of mind experienced in A Sliced Up Pear did not escape our minds just because we relocated.
In this sense, we must be careful not to repeat the mistakes of our past. Complimenting the atmosphere is an A.I. female voice, which produces a synaesthetic synthesis of the picturesque space-station revolving in front of the new planet with the new settlers recording their doubts before leaving old Earth in the journey for the unknown.
Reinterpretations are exciting and important in the art world, as they offer the original artist vision where their vision could have gone with a slight change in perspective, while offering the borrowing artist the challenge to disentangle from the progenitor idea. Such is Black Merlin’s reinterpretation of Intuition.
While the original dwelled on the moment of arrival from a holistic perspective of the whole station, the remix is a personal deep dive into the psychological and paranoid thoughts of a crew member. Why would she trust anyone if there is no common reason for a harmonious community to arise? The harmonics are very edgy, inducing an uneasy feeling of mania and distrust in a place where there is no going back. “I am waiting patiently, quietly for the next thing to come”
Finally, Trenton Chase adds an extra danceable quality to S_ROSE’s vocals in his interpretation of Petit Mort. The first chord beautifully tastes like Dorothys Fortress – Enter Castillo and evolves into an Astra-oriented call of the night. One is brought back to the first day of the dystopia, where the initiated are cruising down Miami’s neon lights in a car. Seems like they are on their way to a meetup of Russian Mobsters, and are packing a baseball bat combined with a whole variety of animal masks. Trouble smells a mile off, but the clock struck midnight, meaning the marauders cannot turn back even if they wanted to.
I am impressed by this EBM electro EP. It is tight, with a clear direction it is heading and vivid, synth-based imagery which portrays a whole story of a world which we do not want to inhabit. The sonics are first class and will be entertained by all ears in a club setting. Take Aura Nox’s warning and change your values. When we notice Levana’s tears, it will already be too late.
Transmitted by Last Ronin, the monster crawling in the underground refuge.
Awaken to the dreamy, acidic machine funk of Keith Farrugia aka Sound Synthesis, whose laidback take on electro has enraptured the ears of all good punters everywhere. His music brims with astral colours and can be found on labels such as Electro Records, Exalt Records, Fundamental Records and many more. He is transmitting from his home in Malta.
“Sound Synthesis started with the first release on Paul Blackford’s label Militant Science around 2009.
“I had other projects on going as well at the time where I was doing more ambient music, but I always was into electro as well.
“The name came from getting into the shaping of sounds, which is called sound synthesis. This is something that always fascinated me as I always saw it as a door to explore new possibilities in music.
“I never learned music theory or an instrument. I always composed music with what makes sense to my ears. I tend to find more freedom in expressing myself in that moment, when I really feel it, without any rules or music notations to follow.
“Of course, in recent years I have and am still studying some basic music theory as it will definitely help in the process.
On Science Fiction’s connection to Electro…
“Well, they’re two things that go hand in hand for sure.
“I guess the idea of futuristic/scientific sounds is what makes it interesting, and also I see electro as a futuristic genre whatever the time or era we are in. They just naturally make sense to combine.
On approaching music and hardware or digital…
“I use both in my setup. It’s always good to mix it up. I usually produce by gut and what I am feeling at the time.
“Most of my music is written like that but I also find it interesting to follow a concept, researching new stuff, being inspired and always finding myself learning something new in the process. So I would say both.
On his sound…
“I really don’t know how to describe it, but it might sound dreamy most of the time.
“I really like to explore more darker sounds as well, depending on the mood. The aim for me is to always explore new possibilities in creating my own sound.
On inspiration…
“I am usually inspired by all that surrounds me, it could be listening to other people’s music, a day in nature with friends, travelling, a bad experience. Basically life and everything that’s in it is an inspiration in some way or another.
On how his city shapes his music…
“Well, we live on an island here in Malta, so probably the dreamy sound comes from living a very laid back life, especially during the summer.
“We watch a lot of sunsets and enjoy the sea a lot. I also love the history of my country, which includes a lot of artistic buildings and cool scenery.
“The scene in Malta is quite good, both event wise and also with lots of great producers as well. The underground scene is very small but it’s beginning to get more recognition from artists that are now releasing more music internationally.
“I also form a part and am the co-founder of a non-profit organisation called Electronic Music Malta. The aim of this organisation is to provide support and information for all Maltese electronic music engineers, innovators, artists and performers. Also the very important educational aspect of electronic music in general by holding lectures and workshops so people who want to explore this world of music can.
On playing live or DJing…
“I always play live or hybrid sets. Like any producer, I love to hear my work on a big sound system, which is also very useful for testing new stuff. Something which is really missed during this pandemic.
On being creative during the lockdown…
“I have always been productive, even when the pandemic was not happening but it definitely increased my productivity yes.
“It’s something which really helped me find more of myself on both a personal level and also musically.
“I also found the time to start working on setting up my own label, which is called Wave Function, a dream of mine for quite some time now and is finally happening this year.
On his studio setup…
“I used to work solely on my laptop and headphones for a good number of years.
“Then I started to save up money to buy gear and a better monitor system to work on. Now I have my own place and studio which of course is great.
“The Moog Grandmother has to be both my favourite synth and a secret weapon!
Electronic Tesseract 
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