Atelier: A Light That Never Goes Out

Lights Towards The Exit is Atelier’s second full-length studio album. After the release of Varsam Court at the end of 2019 on Lossless, run by mentors and friends Mathias Schober and Thomas Herb, the duo experimented with different ideas in the studio, and at the start of 2020, a common thread began to appear between a few of the tracks which laid the foundation for the sound of their second album.

In this interview, Type < / 01 Magazine caught up with Alexander & Jaś to dive deeper into the release of their new album Lights Towards The Exit, their evolution over the years, plans to revamp their live show and more.

Hi, Alexander! Jaś! How are you doing? How have you been? Thank you for joining us today.

Thanks for having us! We’re in a good place now that the album is out.

Yeah, we can only imagine! Congratulations on the release of your sophomore studio LP, Lights Towards The Exit! You must be psyched to finally have this one out. What has the initial reception been like so far?

So far so good. It’s always an odd yet special feeling to know that in this day and age, your music can be heard in so many situations and environments.

Being Lights Towards The Exit your second studio album, where does it find you in comparison to the Varsam Court sessions? In which ways have you changed as people and artists?

The first album was recorded in a beach house in South Africa and the second in Berlin, so right out of the gate there’s a strong separation that we feel. However, it’s very much still “us” at its core. Seeing as we took a long time to develop our sound even before the first album came out, we’re confident in our stylistic choices and have always treated the project as a “space to grow.”

And how would you define Lights Towards The Exit? What can your fans expect to find this time around?

We think there is a natural progression from the sound of our first album. Being in a new city with new influences and experiences shows in the music. There are more upbeat rhythms aided by recording live drums. There’s also a sense of maturity, in that over the years of working on it our technical knowledge grew but at the same time, we’re always known what we like and don’t like. The latter sometimes being more important.

As one can see, Lights Towards The Exit doesn’t feature collaborations, which is something fairly common, especially when electronic artists set out to complete a studio album…was this something that was premeditated?

We’ve always been open to collaborations, and have had some successful ones in the past - but we are also very selective. It’s an intimate space that you really have to feel deeply comfortable in with those around you in order to access that storytelling part of yourself. On this album, we had Robin Brink and a friend named Spike who recorded a lot of the live drums you hear, and in a way, our close studio friends and colleagues gave invaluable insight and feedback during the process.

Lights Towards The Exit sees you guys returning to Mathias Schober and Thomas Herb’s Lossless. Why did you guys decide to return to the imprint for this particular project? What is your relationship with the guys like by now?

After working with Lossless on our first album, they had a first option on our second album and when they heard it, they wanted to release it. We met when a mutual friend put us in touch back in 2017 and since then it’s been a bit of a rollercoaster, but predominantly in our personal lives with everything that went on in the world during that time period. They are friends and mentors and we’re happy to be a part of the Lossless family.

Reflecting on the sound of Lights Towards The Exit, are you making the music that you thought you’d be making when you first started? If not, what do you think of the voice you have found as an artist?

We mentioned it briefly earlier but it’s something that many people are not aware of - we took about 3 years of making music together with zero pressure, no deadlines, and little outside influence in order to find out two things: who are we and do we really want to do this? It’s special to be able to answer these questions together with a childhood friend, we’ve both grown a lot during this time, and having Atelier as an outlet for the creative energy that lives within, not only gives us a sense of purpose but a light at the end of the tunnel. Pun intended.

And, are there any plans to present Lights Towards The Exit in a live setting?

This is the goal. However it’s gonna take some time, we’re moving away from club shows and into more live music spaces, so it comes with a different set of challenges, but we’re optimistic about this direction.

By the way, moving into a hot topic…what do you guys think of the implementation of AI in music? Has any form of AI been implemented in the new album? What’s your relationship with that like?

We both have different views on this, some positive, some ambiguous. But the short answer is no, there was no AI used while composing this album.

Now that Lights Towards The Exit is out, what’s next for Atelier? What new milestones are you looking forward to? Where can your fans catch you next?

The future is unwritten. Right now it’s about enjoying the moment, enjoying the relief of having this album out, and refining our live show. We move at our own pace. All shows and news will be posted to our Instagram, so that’s probably the best place to stay informed.

Thank you for your time guys! Best of luck with Lights Towards The Exit. Catch you soon!

Thank you, Type < / 01 Magazine!

Atelier’s Lights Towards The Exit is out now via Lossless. Buy or stream here.

Moderate Kingdom: Somewhere Between Worlds

Fresh from a short hiatus as a producer, Italian artist Gianluca Annoscia is back with renewed passion and creativity as he kicks off a new era under his Moderate Kingdom alias with the drop of his new EP, Seyane. A genre-defying outing that juxtaposes rich Afro-laced flourishes with a modern allure, his latest two-track delivery sees Gianluca making his ICONYC debut as he sets forth to new lands.

Ahead of the release of Seyane, Type < / 01 caught up with Gianluca Annoscia, as we dove deep into the meaning of the record, how it was created, learned more about his studio process, new expectations, and more.

Hey Gianluca! How are you doing? Where are you at? Thank you for joining us today.

Hey guys! Thank you so much for having me here with you! Everything is fine here! I just got back home after finishing my daily workout by the sea and I'm super energized.

Nice one! We know the Italian coast is something to behold. By the way, congratulations on the release of your ICONYC EP, Seyane. We can imagine the excitement must be high! So, how are you feeling about this one?

Thank you! I'm actually thrilled about this EP because it's been some years now since I last released any music. Over the years, I traveled a lot and I've been deeply inspired by a wide range of musical styles and cultures, and I wanted to make these 2 tracks to materialize that diversity and innovation.

Well, digging into the record, there is a really eclectic feel throughout “Seyane”, in what is a true meeting of worlds, without ever being boxed in clearly in a genre. What’s the inspiration for this one? How did this one come about?

The inspiration for "Seyane" came from a desire to explore various musical influences as afro house vocals and electronic melodies blending them together in a way that transcends traditional genre boundaries. As for how it sees the light, it was a natural evolution of my creative journey, driven by experimentation, allowing me to come organically to create something unique and vibrant that fully represents me behind the decks right now.

And the B/side, “Zegama”...it’s this almost trance-laced take on Afro-house that feels like a moment of true hope. What’s “Zegama” to you? Where did this one come from? Is there a meaning to the word?

“Zegama” serves as a melodic voyage, a blend of African drums and trance-infused synths that transport listeners to a realm of genuine optimism and euphoria. this track transcends conventional boundaries, inviting listeners on a journey through pulsating beats and ethereal soundscapes. The word “Zegama” has no specific meaning, but it is a phonetic expression that encapsulates the essence of the energy and emotion I would like to spread to the listeners.

By the way, this is your 10th anniversary as Moderate Kingdom, right? What has the journey so far been like? Did you ever imagine that it would pan out this way?

My 10th anniversary as Moderate Kingdom is a milestone that holds deep personal significance for me. Reflecting on the journey thus far, it's been a remarkable path of growth, creativity, and shared experiences. The best is yet to come.

And music-wise? Are you making the music that you thought you’d be making when you first started with music production? What do you think of the voice you have found as an artist?

My journey in music production has been a constant evolution. the vision I had when I first started, has evolved so much over time. I've explored different genres, techniques, and sounds, allowing myself to be open to new influences and experiences. Along the way, I've discovered a unique voice as an artist, one that reflects my personal experiences, emotions, and creative impulses. I'm excited to see where it will take me in the future.

Do you usually take your time when composing a track? Or do you feel a need to get some core elements down as fast as possible?

When composing a track, my approach can vary depending on the inspiration and creative flow at the moment. Sometimes, I find it beneficial to take my time, allowing ideas to develop organically and exploring different possibilities before settling on a direction.

However, there are also moments when inspiration strikes, and I feel a need to capture the essence of a track quickly! In these moments, I focus on getting down core elements—such as melodies, chord progressions, or rhythms—as fast as possible to preserve the initial creative spark. Later, I can refine and expand upon these ideas during the production process.

And how do you feel about the use of AI in music? Have you implemented any form of AI in recent productions?

I've never used AI in my productions, and it doesn't particularly excite me. I prefer to rely on my instincts and creativity to make music, rather than using algorithms or automated software. I believe that the creative process is a personal and subjective experience, and I prefer to maintain complete control over my creations without the assistance of these tools.

Since we’re on the production front…where do you usually go to for inspiration? Do you have any routines or activities that help you open up creatively?

I find my inspiration in everyday life experiences, emotions, and personal reflections. Whether it's a profound moment of joy, a challenging situation, or a fleeting feeling, I try to channel these experiences into my music, infusing them with authenticity and depth. And listening to a variety of music also keeps me inspired and helps me discover new sounds.

Stepping outside of the studio now…How do you feel about the current state of our scene?

For sure advances in technology and social media have made it easier for everyone to share their work with a global audience, fostering more collaboration and connection within the scene.

I believe it's essential to continually seek out new inspirations and embody them to make your sound unique. The music scene thrives on innovation and individuality, you just need to create something truly distinctive infusing the music with your own personal touch.

Having gone over the recent past and the present, what’s next for Moderate Kingdom? What new milestones are you looking forward to? Where can your fans catch you next?

Looking ahead, my focus will be on making new music and reaching new milestones. I'm excited about the prospect of sharing fresh tracks with my fans and continuing to grow as an artist. You can catch me next at various festivals and parties here in Puglia. Stay tuned for updates on my upcoming performances!

Thank you for your time Gianluca! Best of luck with Seyane. Catch you on the dancefloor!

Thanks for the love guys, what a ride! See you soon!

Moderate Kingdom’s Seyane EP is out now via ICONYC. Buy or stream here.

Clér Letiv: Breaching Hope

Theatrical and compelling in equal meassure, the elusive Argentine producer/vocalist opens up about his two narrative-driven cuts that feel sensually intimate as he explores the inner worlds of his own device.

Allowing us to take an exclusive peek beyond the veil of mystery that shrouds his newfound persona, Cler links up with Type < / 01 to talk in-depth about the moments that inspired his new EP on ICONYC, his intricate workflow, his ability to translate complex experiences into music, and more.

Hi Clér! How are you doing? How have you been? Thank you for joining us today.

Fantastic. Thank you for having me, I’m very happy to do this, especially with my new Breach EP around the corner. Sorry for being a bit on the spot. I had a long night, and stayed up late working around a production…I had a good idea and couldn’t just let it hang there.

Yeah, we can imagine the excitement must be high! Congratulations on the release of your ICONYC EP, Breach. So, how are you feeling about this one?

Well, by now, all I want is to share these new cuts with everyone, haha. I don’t tend to get anxious, because I’ve had them for months, so that tends to deflate as time goes by. But I am excited, as these tracks represent a new direction for me, sonically speaking. It’s more about the club now.

Speaking about the record, we really enjoyed the darkness present in both cuts, which also seem to be cut from the same fabric. What’s the emotional trigger to these new tracks?

Thank you! I do love the idea of them working as a “couple”, or in tandem. I was done writing “Breach”, and I had one of those revelatory moments. “That’s the sound I want, this is the direction I’m going to pursue.” After that, I played it at a club, and I just loved the reaction. So I went back home and immediately got started on “The Surface”.

And yes, just as you say…there is a sense of darkness in them, but it works to validate a notion of hope. I think the contrasts help us better appreciate the components. Regarding “The Surface”, this one’s about “letting go”, but as a conscious decision…d’you know? Without the hurt and the pain.

Obviously, they do feel highly personal. Yet, at the same time, it's these sort of “universal” feelings that almost everybody goes through, eventually. Was this something that you felt aware of during these sessions?

I think I always try to be transparent in that sense and express myself from my point of view. But, beyond the lyrics having a highly personal component, I think that it’s the overall production that elevates the message. And, when you factor in the “club setting” component, then the experience becomes a sort of “larger than life” kind of thing. That itself then becomes hope.

By the way, your release catalog seems to be closely curated, as if each step is meticulously planned. Is this something that you’re conscious of?

When it comes down to making music, I definitely don’t operate on a conscious level. It’s just pure bliss. But, regarding the “design” of the catalog itself, yes. I did release music before under different names, and I have learned from that experience, so to speak. Now, I have so much faith in this project that I want to do it consciously. I have invested everything in this, and I understand it as something necessary to sustain my development. Whenever this comes up in a conversation with colleagues, I always try to tell them, “Plan out what you’re about to do”.

So, how do you feel about starting from scratch?

Obviously, I understand that, for many, the blank canvas might be daunting…but, in all honesty, it gives me hope. And I have no problem with navigating that parallel feeling of uncertainty. I mean, we’re kind of used to that already…whenever we finish a piece, we never know where it's going to end up…the process itself is a bit of a drag, but the experience helps a lot with taming anxiety.

And are you making the music that you thought you’d be making when you first started?

Haha…Oh, boy…Well, I’m not going to lie to you. Just know that I’m not proud about this, haha…So, thing is…I started music production at the age of 15, so that’s like 7 years now. And, like many others, I started out listening to EDM and producing on FL Studio. Full disclosure, I just made the jump to Ableton like a year ago. In fact, Breach is my first EP on Ableton. And I did sense an “improvement”, the workflow is much better. But yeah, I started out with EDM.

I like to think so, that I have found my own voice. And I would like to dive even deeper into experimental stuff. As time went by, I started listening to a lot of rock, both in Spanish and in English. So, I would like to try my hand at something like that, eventually. I’m already working on something there…but that’s as much as you’ll get today. But yeah, I like where I’m at right now, and where I’m going.

By the way…you’re from a small town in Cordoba, Argentina…right? So, how do you come across electronic dance music?

Santa Rosa de Calamuchita, actually. In Cordoba. But the big bright lights aren’t that far away.

The first contacts came through friends of mine who would purchase CDs by Skrillex. “Bangarang” was the shit. But there is a club here in my town which actually has an electronic dancefloor. So, by the time I could, I would start going by myself. Illegally, obviously. My friends all started clubbing a bit later, but today we can all go together, and that is something that makes me very happy. In fact, that is how I got acquainted with the underground.

So…Having gone over the recent past and the present, what’s next for Clér Letiv? What new milestones are you looking forward to?

I just want to keep working in order to grow. And I’ve got a ton of new music ready. I’ve got a lot of releases, some stuff already signed, and enough material on the way, so it won’t be long until you guys hear from me again.

Thank you for your time Clér! Best of luck with Breach. Catch you soon!

Thank you. I had a blast doing this one. Wishing you all the best, and see you soon!

Clér Letiv’s Breach EP is out now via ICONYC. Buy or stream here.

ROMAN KYN: EXPLORING SUNSETS OVER TOKYO

A citizen of the world, Roman Kyn is a music composer, vocalist, and electronic producer whose music is grounded by an underlying ethos to combine sonic realms with meticulous care. Roman’s sound marries a steady rhythmic ritual with a rich melodic journey. A strong aesthetic is injected into his live performances, combining live instrumental improvisation and the manipulation of modern machines.

Fresh from an inspiring vacation in the vibrant and buoyant city that is Tokyo, reserved French storyteller Roman Kyn links up with Type < / 01 to talk in-depth about the solar movements that inspired his new EP on ICONYC, his intricate workflow, his ability to translate complex experiences into music, and more.

Hey Roman! How are you doing? How have you been? Thank you for joining us today.

Hey! Thank you! All good over here in Paris, enjoying some nice weather and really excited about the release of my new EP for ICONYC.

Yeah, we can imagine the excitement must be high! Congratulations on the release of your ICONYC EP, Exploding Sunsets. So, how are you feeling about this one?

Great actually, because this is a very important EP for me. Both tracks in the EP share a rather similar creative process in terms of sound, but they are directed to different audiences. The first cut is clearly more club-oriented, while the second provides more of a listening experience, which is something I have been wanting to do for a while now.

Digging into the record, there seems to be a sense of hope in the lyrics for “Exploding Sunsets”. What’s the emotional trigger here? How did this one come about?

I believe it’s a very simple feeling, but yet very powerful. It’s about when you’re facing something very beautiful but melancholic in a way, and still finding the “good” in it. It’s the same motif that is used in “Tell Me Why” as well. See, I record a lot of videos, and recently I recorded a sunset while in Tokyo, very high up, and I was inspired by that. For the lyrics, I was imagining something very apocalyptic. I believe there’s some beauty in that. But, like with most music, maybe it’ll mean something else to someone else, and I’m cool with that.

And on the flip side, “Tell Me Why” almost resembles a sort of “built-for-radio” kind of tune. Where did you learn to manage and understand the sensitivity required to pull this one off? I mean, it’s a bit of a different ball game when compared to “conventional” electronic dance music.

Well, when I was younger, I used to write a lot with the guitar and piano. Also, I had bands, and another project with my brother, so that helped to understand music from a different standpoint.

Of course, the music is very personal, but when thinking about club music, I always picture myself playing it live, and imagining the reaction of the crowd and the moment. So that’s kind of how I know that whatever I’m doing will work, or not. But for “Tell Me Why”, it was totally intentional. It’s something that I'm starting to implement more and more on new tracks, and in the end, it leads to more powerful and personal songs for me.

We know that you kinda grew up all over the globe, including Chile, Mexico, Belgium, and Spain. How did this shape your musical taste? Do you still keep up with the music that’s coming out of those scenes?

To be honest, I don’t think it had an impact in a regular way, like getting into this or that sound or vibe. It's more about adapting to different cultures and constant changes, which in turn translates into consuming a broad palette of sounds. So I draw inspiration from many places, but I can’t really say that I have been inspired by the scenes themselves.

And in terms of music production, you’re self-thought, right? Do you remember the moment when you decided you’d take a swing at music production?

Well, discovering that I could do it all myself was very liberating. Obviously, having been in bands, I know that sharing ideas is great, and good things can come out of that interaction. I was a massive fan of The xx, and seeing how this band used electronic elements to do the work of more people was amazing. I guess that was the moment, and it’s been more than 10 years since then.

So, are you making the music that you thought you’d be making when you first started? If not, what do you think of the voice you have found as an artist?

I'd say there has been a philosophy that I have pursued throughout the years, which is bringing a band sound to the club. So I have always evolved around this concept. But getting to a place where I’m happy was a very exponential process, and I have a feeling that these past two years have been very important in terms of sounding how I want and the development of that. In that sense, “Tell Me Why” is very personal, and represents me very much. It's a tough process. You share your music and everyone will have a different opinion, but I have become very stubborn in the past years in terms of fighting for what I believe, so I know how to shut the noise out when it’s needed.

In terms of the sound itself, everything goes in cycles, and indie dance has that sort of 80s feel. Bringing in stuff from the past to the future and finding a new purpose for it…that is something that excites me.

From what I understand, you usually finish your tracks within a certain window of time. Why is that? Is it because of how hard it might be to replicate the feeling that motivated you to sit down in the first place?

Yeah. I tend to work really fast, but I think all the main creative stuff has to hold up. I work like that because, if I don’t, I’m probably going to overthink, and then doubt sets in, and I just sort of derail from there.

I know others like to take their time, but it doesn’t really work for me. I have a few folders with projects in different stages, so every now and then, I have listening sessions to determine which ideas I’m going to work with, which helps me keep the process interesting.

Since you tend to play “live”, is this something that you have to take into consideration when producing music? Do you ever go like “Nah, this is too convoluted for me to play it live on my own”?

Honestly, no, never…Maybe on the vocals, that’s the only place where I feel like it might become a limitation. The thing is…I’ll always have to pick parts, I can’t do it all on my own. But I’m OK with that. Sometimes, I’ll even end up with different versions of the same track because of things I had to adjust. But the trick is that everything that I write is always played out, so the origins of the idea are very hands-on, very organic. So they come from a “real” place.

As you mentioned before, you have just spent almost a month in Japan. Was this your first time in the country? I always thought that it would be a sort of alienating experience. Have you ever felt like that before anywhere around the world?

It was my second time, actually. I visited last year. I have friends with an amazing music studio. It’s super inspiring, and a perfect place to have a break.

And yeah, it’s completely like that. Everything is amazing, and people don't speak much English, so navigating this is so much fun. The first time, I did a tour of 2 or 3 weeks, and I was very lost. But I still managed to do the trip, met some lovely people, and had a blast. There’s a “zen-state” in being lonely. A lot of people go out and eat alone. Some restaurants even have seating for one. And there’s this thing about taking your time for quality, which is something that doesn’t happen around the world. Maybe a cookie bakery will only do 5 cookies a day, but they might be the best in town. And there’s pride in that. Some don’t need more than that.

Speaking about traveling…I know it might be hard to put into words, but how does all this traveling translate into the music that you make? I mean, it’s something that is rarely channeled through a local instrument, right?

For me, it’s an emotional trigger. Different places trigger different emotions, like the inspiration for “Exploding Sunsets”, which has a great juxtaposition of in terms of emotions. It's like taking a photo of a particular moment and translating it into music. It can be something simple, like watching from the window plane as it takes off after a great gig. It's about embracing moments. Personally, I like to take tons of videos and pictures, which I might then upload to Ableton and that serves me as a guide.

Having gone over the recent past and the present, what’s next for Roman Kyn? What new milestones are you looking forward to?

Releasing more music, definitively. My last release was almost a year ago, and that’s just too much time. So I'm going to amp the frequency in terms of that. Also, I’d like to play some bigger shows, so we are preparing for that. A major milestone would be to be able to keep on releasing more of this music that is not really “club-oriented” while still adapting it for the club-oriented live set.

Thank you for your time Roman! Best of luck with Exploding Sunsets. Catch you soon!

Thank you guys for sharing your time with me and for this wonderful interview. Much appreciated. See you around!

Roman Kyn’s Exploding Sunsets EP is out now via ICONYC. Purchase your copy here.

PIETRO CASELLA: SHAPING AN ICONYC FUTURE

Exuding that classical Italian-made confidence, Pietro Casella has abruptly risen through the ranks in the electronic dance music industry. Despite being just 27, Casella is smart beyond his years and has already spearheaded brands such as Adriatique’s Siamese to the upper echelons of the circuit. Now, back in Milan following a formative stint in the cold nights of London, Pietro is a precocious visionnaire called to imagine an exciting tomorrow for John Johnson’s ICONYC as its new A&R in this new phase for the imprint.

Join Type < / 01 Magazine for a distended conversation with the reserved, yet poignant Pietro Casella as we link up to discuss the future of ICONYC, his understanding of electronic dance music, views on the current state of the industry, limiting inspiration, and more.

Thank you for being with us Pietro. Are you ready? Let’s take this one all the way back to its origins…How and when did you first come in contact with electronic dance music? What was it about it that caught your attention?

There wasn't really a specific moment or situation that I am able to recollect now, yet what I have always been able to track was indeed a method, a personal approach, my way to engage with music in general from the very beginning till now. Furthermore, I must say the emotive exchange with the subject has also remained intact and intense through time. I guess, the focus on electronic music and its multiple shades eventually just settled and narrowed definitely after quite some different musical phases I went through, which were very far from one another and totally disconnected, but in some way turned out to result complementary and precious for my actual knowledge, which continuously shapes.

Through the years, surely something came from a more direct and physical approach, such as clubbing or personal sensorial experiences, but I'd say that most of the feelings, both positive and negative, the passion, the curiosity, and a sort of necessity I feel towards music still just develops within myself, in a very introversive way. I just never really feel satiated, neither in control nor dominant about it, as in a continuous yet beautiful sort of submission to this art, specifically.

Are those feelings still there? Or have your views on electronic dance music changed over the years as you dove deeper into the industry?

Tough one. As said before, feelings are somehow just untouched and undamaged and still a valid reason for me to pursue this in whatever possible way, including the professional one. Honestly, what's been changing for me are just the sources or specific scenarios that allow me to consume my emotions, whatever they are in the moment.

Regarding the actual scene, I am totally aware that things are and must be happening on a larger scale than ever before or that I was used to. However, it often does occur to me to remember the recent past with a sort of melancholy and I still tend to enjoy the more intimate sides of it. I would say that work, thinking through the creative process, and all that happens behind the curtains are surely included there.

We do seem to cling to the past more often than not…Are you aware when this happens to you? Do you automatically tend to discard the past when trying to look forward?

Well, the comparison is always there. I mean, if you’re not doing well at the moment, but you look back to “happier” days, then, yeah, that’s probably going to affect you. In a way, I’m always tied up to the past. I do try to move forward, but, eventually, I’ll return to that which was good for me. Like music. I always listen to the new stuff but might find myself stuck to an old record. I think it's about how we can tie and connect things from the past back to the future.

Everything moves so fast these days that I don’t think that we have time to appreciate or understand the present, and it kind of slips from our hands. I tend to suffer from this, so things like retrospect are good tools that add value to what we do.

Speaking about understanding the present…You have already managed some top-tier brands. So, what was it that drew you to ICONYC?

Embracing the ICONYC project felt quite natural and smooth to me. Circumstances might change around us, but I think in this field, keeping intrigued and stimulated is the key. As renovation is one of the label's focal points for the future, that's basically where my needs and wants match with the other part. I am very grateful and pleased to take up this opportunity.

And now you’re poised to usher in a new era for ICONYC. What’s your vision for the future of the label?

In the very end, it is all about making records and music. From my side, it's about stating my vision through something that does not belong to me directly and at the same time giving back a suitable and dedicated space for talented artists to express their vision. I really hope that anyone who interacts or works with ICONYC will be able to feel that.

So, how would you like people to perceive ICONYC in the coming months?

In a way, this ties back to the approach I take. For now, I can tell you that every release will be different from the last. However, there is a phantom thread connecting what we have planned. The main idea is to push music that is both functional to the dancefloor, and something that could be understood and appreciated by merely listening in a more intimate and chilled situation. It’s more about a “feeling” than anything else. I’m not really trying to force anything in particular. You’ll find quite a broad range of sounds in the coming months, and not everyone will like what we do, but we know that’s part of the game as well.

As an A&R, would you say “genres” limit labels and stifle innovation? Or is it all about having people know what to expect?

From my personal experience…I grew up as a big fan of labels like Ninja Tune, Innervisions, City Slang, Warp Records, XL, and Music From Memory, to name a few. In a way, I was dragged around by the music. Without much expectation, other than finding quality music, these labels pushed me to new things.

The fact is that I have grown since my early days as an A&R. A while back, I might have heard something, and if I didn’t “get it” right away, I would have dismissed it. Now, I understand that context is not EVERYTHING, but a quite important and sensible key factor. Call it personal growth and evolution, I guess. I feel like I used to be really selective of what I was hearing at that particular moment. Today, I understand that what I might not like is probably down to the context it was presented. So now I try to listen beyond that, imagining how things might work given different scenarios.

So, is it all about the music these days? Or do you also take into account the artist and how the artist is portrayed?

Honestly, I listen to every demo sent to me. Every day, every week. I really have no personal preference. You know, if the music is a 10, then it’s a 10. But that is a truly rare occurrence. And, at the end of the day, this is also a business, so when it comes down to the wire, we do look at everything. But I will never seek to change someone’s nature. If I know someone is not the most active on social media, I can’t really expect much from that artist on that particular front, can I?

Taking this into consideration, what are some of the most important things you’ve learned so far as an A&R? Have you ever passed on a song that went on to become a hit?

Yeah. I have. At most labels, decisions are taken in groups, so most of them are rarely unilateral. One has to also keep in mind that, a lot of times, running a label goes beyond just selecting the right music, so there’s a certain “flow” to consider. However, I’d say that this is an extremely intuitive area. When I see that everything is there, then I don’t question it too much, I just go with it.

Where do you go for inspiration? Are there other brands that have had some sort of success that you seek to replicate?

I mainly love these simple drawn-out ambient sounds and industrial sonorities that seem to set a story to music and leave me enough space to fill the whole with my imagination, simultaneously and accordingly. About it, at the minute I am digging Mica Levi, Oliver Coates, and Clint Mansell.

What’s your take on the current landscape? Can you visualize any coming changes in the coming months or years?

Honestly, I listen to a rather copious amount of records. There’s still music that I like….but I would say that most of it is out of the spotlight, in the shadows. But that’s because I listen to a lot of music, so it’s easier to feel “disenchanted” by certain things. I don’t really like much of the industry nowadays, but there are gems around, that’s for sure. It’s a matter of perception, but there’s always value to it.

Unfortunately, most of it has become super commercial or trend-driven. It’s hard to find the good stuff. The music isn’t front and center anymore. Today, at least at festivals, it all relies on big LED screens. I’m not saying that the music is not enough anymore, but I’d say that the answer lies somewhere in the middle. I’m certain that if you take the screens away, people would still dance. The music is good, we’re just overloading our senses, and that is what takes away some of the inherent magic that the music has to offer. It’s just harder to connect in that way these days. Like Icarus, we’re flying very close to the sun, and we will eventually burn up. But that’s a good thing. The big names will evolve, and move on to bigger things. And, in turn, there will be space for more creative-minded individuals and forward-thinking labels. I’m certain some fads will come to an end in the near future.

A last one then before we let you go…As an A&R, what’s your take on AI? Are things gonna change for the worse?

This is something I haven’t really concerned myself with. There’s a natural selection with my process, so I just happen to find most things organically. I tend to work with certain names and people who absolutely love the craft, so I know where things and ideas are sourced from. So it’s not something that I have had to work around or with. But if I do find out, I might be put off. I’m more of a traditional guy…

WHOMADEWHO SHARE THEIR CREATIVE PROCESS

Name: WhoMadeWho
Members: Jeppe Kjellberg (guitar), Tomas Barfod (drums), Tomas Høffding (vocals, bass)
Occupation: Songwriters, performers, producers Nationality: Danish

Where does the impulse to create something come from for you? What role do often-quoted sources of inspiration like dreams, other forms of art, personal relationships, politics, etc play?

In terms of making a track, we often try to start with an architectural approach. Try to make a specific type of beat, with very concrete references that we listen to. Then we basically try to imitate elements of the reference track and fail. End up making something completely different. But that’s the key! To get the creative process started and to dive into our personal WhoMadeWho area.

Afterward, when composing a vocal, I personally love diving into the subconscious. It’s very interesting to just put on the track while the microphone is turned on and start singing. Singing whatever comes to mind. Fragments of words, and melodies. From 2 or 3 of those openminded sessions, I can normally dig out a nice melody and also some words that sound good have an emotional impact, and connect to the track. Thereafter we have a fundament and start creating the narrative from that. Unless, of course, Tomas Høffding made something even better, or we decide to keep it instrumental. (laughs)

"Oblivion" –  a track that went through a process from me testing new plug-ins on my computer, creating some nice chords and a mumbling melody, then forwarding it to Tomas Barfod, who made it more structured and finished. The lyrics were very unfinished but with the phrase “I can remember” in there as a a key part, it was easy to create the lyrics combining personal memories from love life and childhood, with my own fear of ending up like my grand-dad with dementia, not able to remember anything. Easy. Afterwards, Mano Le Tough managed to lift the production and lyrics to another level.

For you to get started, do there need to be concrete ideas – or what some have called a 'visualization' of the finished work? What does the balance between planning and chance look like for you?

We like to be very focused about being playful and we like taking chances in the creative phase. Over the years, we have learned to be serious about not being too serious. It’s a paradox, but it has helped us a lot during the years.

We started out the first years of the band by being extremely laissez-faire about everything, and we had a lot of fun. Got to travel the world and experienced a lot of success from that, being one of the first “live bands” to start playing in the clubs. We were at that time missing out on a lot of things because we just wanted to travel, play, and party.

Then, at some point, we decided to become more professional and focused. That was an interesting experiment. We focused more on deeper songwriting with more developed lyrics. Making the production cleaner and more tight and thought through. Getting a bigger crew and tour busses, etc, while musically crossing over to the indie scene. Playing more regular pop/rock shows, with a very structured set, etc ... It was fun for a while, but I guess we felt too much responsibility and pressure being in that position somehow. Also, it ended up being too stiff for us in a way, and we got a little stressed about it all. Therefore we decided to change our ways again.

Especially, after playing a specific US tour in 2017, we followed up our live set with some freer and more open-minded DJ sets. The crowd really enjoyed us jamming on the DJ set, and we felt a strong internal excitement about this more fresh and open-minded concept. Playing Burning Man on The Mayan Warrior ArtCar in 2018, was the epiphany. Being more experimental and trippy, while at the same time keeping the dance elements underneath.

That show at Burning Man was not in any way planned, it just happened along the way. Like many good creative things.

Is there a preparation phase for your process? Do you require your tools to be laid out in a particular way, for example, do you need to do 'research' or create 'early versions'?

We try to make as many songs as possible at the beginning of the recording process. No filter, just composing tracks and top lines all the time. Then, after some months we stop and do status. Discussing what to trash and what to keep. Then we open up for the next round of songwriting. We're repeating this process many times during the making of an album. In round two, we might also want to work further on the “keepers”. It’s a Darwinistic race somehow. Survival of the strongest songs.

"Tell Me Are We" – This track was a nice instrumental that we made, but couldn’t find a melody for. Then we sent it to Rampa, along with top lines for a lot of different other songs, and he magically finished the track with a vocal from a different instrumental. Classic WhoMadeWho, random magic.

Do you have certain rituals to get you into the right mindset for creating? What role do certain foods or stimulants like coffee, lighting, scents, exercise, or reading poetry play?

We all like to start early in the studio with a coffee for starting up the energy. We all do 16-hour fasting and work out 4-5 times a week with different intensity. I personally like reading Danish poetry at the moment for my own inspiration. Almost every morning, my father will also send me a quote from either poetry, hymns, or cartoons. I love the words.

What do you start with? How difficult is that first line of text, the first note?

We often start up discussing what we want to do that day. Like, what type of track we want to do. A classic start is us beginning with a beat from Tomas B, then we add the chords, synth basses, and guitars, ending up with an instrumental that we can do vocals for in each of our studios. Tomas H sometimes also brings a composition to the “bunker”, and then TB will deconstruct it.

Once you've started, how does the work gradually emerge?

It’s an ongoing process. Some songs are done in 20 minutes others can take years to finish.

"Closer" – This is a co-op with Artbat. They asked us for an intimate emotional vocal for their instrumental. Once the melody was made, the song was done intuitively without hesitation. I love it when music evolves effortlessly like that.

Many writers have claimed that as soon as they enter into the process, certain aspects of the narrative are out of their hands. Do you like to keep strict control over the process or is there a sense of following things where they lead you?

The songs often have their own life. If you have a present experience in mind or something concrete to write about (without making it too obvious), that vision/thought can somehow also lead you through the songwriting and drive the narrative.

The process is different for every track. Sometimes the narrative takes control randomly, other times it’s the opposite. We push through with a clear vision/idea.

Often, while writing, new ideas and alternative roads will open themselves up, pulling and pushing the creator in a different direction. Does this happen to you, too, and how do you deal with it? What do you do with these ideas?

It happens all the time that alternative roads occur. Since we are a trio with 3 strong personalities, we push each other on a daily basis. It's very normal. Sometimes, for instance, a person can bring a song to the table, feeling really good about it, while the two other bandmates might just accept a small element and turn it into a completely different track. These changes of direction are the beauty and sometimes also the curse of playing in a three-piece band with a flat hierarchy.

There are many descriptions of the creative state. How would you describe it for you personally? Is there an element of spirituality to what you do?

I do have a humble awareness of our connections to the universe. Call it superstition, or what you like. I just really like if the numbers are right … I also want to believe that all the random things we experience have a deeper meaning and that we all need to open ourselves to the gifts we are given.

Especially in the digital age, the writing and production process tends toward the infinite. What marks the end of the process? How do you finish a work?

Deadlines!

"Abu Simbel" – This track we were very happy about but didn’t really feel the vocals on it. One day before the deadline, Rampa kept pushing us to the very last second to make it stronger. Then out of nowhere, Tomas Høffding came up with this amazing melody. If we hadn’t had that deadline, I'm not sure that it would have happened.

I think a deadline is essential. Like that, the music becomes a sign of the moment when it is done. We all change all the time, and so do our ideals, and aesthetics also change with time. So if we didn’t have deadlines, I'm afraid that our songs would just pile up and never be finished properly.

Once a piece is finished, how important is it for you to let it lie and evaluate it later on? What's your take on the role and importance of production, including mixing and mastering for you personally? How involved do you get in this?

It is a very important matter, I know. But I am not really getting into it. I am deeply involved in the construction of the music. The notes, the rhythms, the lyrics, etc. I am so privileged that our drummer Tomas Barfod is an amazing producer/mixer and in conjunction with external Mix/Master colleagues, I feel that I am in the best hands. On this album, we are working closely with Rampa from Germany, and he is also very inspirational to work with in this matter.

After finishing a piece or album and releasing something into the world, there can be a sense of emptiness. Can you relate to this – and how do you return to the state of creativity after experiencing it?

After the deadline, there are definitely mixed feelings. A sense of relief on the one hand, and on the other hand, that deep sense of emptiness. I think it's very normal for songwriters to feel that post-deadline blues, still it gets me down every time …

I guess we need to do something else after such a deadline. Normally this will be touring the world and meeting new people. That helps a lot and sparks the creativity back in the body. Time off is definitely needed after such a musical marathon.

Creativity can reach many different corners of our lives. Do you personally feel as though writing a piece of music is inherently different from something like making a great cup of coffee? What do you express through music that you couldn't or wouldn't do in more “mundane” tasks?

I don't think writing music is different from any other job. I deeply respect people who put effort and focus into their job. Any job. Being a barista takes super skills. Awesome. Someone taking out all of our garbage with a smile on their face. Super awesome. Teachers taking care of all the misbehaving children for a lousy paycheck. And so on.

I think we are all obligated to put ourselves to optimum use. We need to feel a fundamental sense of happiness and purpose in life. And like that, we are all connected. Unfortunately, I don't have so many skills in life apart from music, which is my element. I like to express emotions through the music. Big beautiful emotions. In my daily life at home or in the studio, I am more in contact with the raw versions.

It's way easier in poetry than in real life.

CREDITS: Original Interview courtesy of 15 Questions

IN CONVERSATION: MONIKA KRUSE

Revered techno figurehead Monika Kruse's talent and dedication made her one of the world's most highly-respected DJs and producers, who has inspired many in her 25-year-long career. She started the Terminal M label in 2000, and it remains one of the most consistently outstanding techno labels. Monika Kruse joined us for Familia's 5th Birthday celebrations with her label showcase. We briefly chatted with Techno's First Lady… 

You've played the piano since an early age, subsequently training your ear and leading to where you are now in your career. Is current or previous experience with a musical instrument essential learning for a budding producer? 

It's not essential, but it definitely helps. I was learning classical piano when I first started my training and later Jazz; my knowledge of harmonizing and how it affects the way music sticks in your head has given me more space to improvise on my productions and also how I put my feelings into a track. Many artists fall into the trap of perfectionism in their work, from the tracks they produce to the selection and mixing techniques throughout their DJ sets. 

Do you ever fall into this 'perfectionist' category with music production and DJing? How do you overcome something that's arguably a slightly negative way of working? 

Oh, ha, that's an excellent question! I am 100% a perfectionist; I'm rarely satisfied with my sets, and sometimes, I go home and think, "Ah, I could have done this better". This way of thinking is helpful to me; if every time I played, I was satisfied, it would mean I hadn't given myself room for improvement. The pressure now is higher these days than ever due to social media. Everyone is recording you with their phones, or you're being live-streamed, and once it's out there, it's out there. Producing it is hard, as I always feel the track needs to be finished. Still, it is essential to let go of the feeling of perfectionism and, at one point, to release the track.

With news of political upheaval in the daily headlines, tell us about your charity 'No Historical Backspin', and how this combats racism and violence.

I founded this organization in the year 2000 when there was lots of violence against refugees, but also against gay people. Some of my gay friends were getting attacked on the streets after parties, and when DJ Rush was assaulted because he was black, I strongly felt I had to speak out and do something about this. If I went to the club with a message or threw a party with this in mind, people might start to think and dance. I remember a few occasions where we met some really right-wing people at the party (which was good) because we were able to have a discussion and say, "Hey if we can all show love on the dancefloor, why can't we show love off it?" and that's really what the mission is. At a Backspin party, all the DJs play for free, and all the money raised goes to victims of these attacks, usually paying for lawyers or medical bills. We've now raised over € 100,000, so I'm thrilled.

Tell us about living in Berlin, the best place for crate digging, the most outrageous club space, your favorite bar, and the best place for a meal after a night DJing or just enjoying the city's nightlife. 

Hard Wax is definitely top for records; they have a lot of Detroit stuff you can't get in many other shops; it's extraordinary. Unfortunately, many good stores have closed because of the record crisis, which is a real pity. The best place to get a late dinner or an early breakfast is at home. I like to cook; I can make some noodles and then get straight into bed! 

You're no stranger to playing at Familia parties here in Egg; this is your third booking with the Familia clan. What's so special about this party makes you want to return each time?

The thing about Familia and Egg is that we are good friends. I've known Gabby since I DJed at Trade, and now I'm here for Familia. This party, this club, is really about family. If I play abroad, you guys will always come along to my show; you stay in contact even if I'm not playing here; that means a lot to me. This industry is now just about business, but you guys make it more than that. I'm grateful you allowed me to showcase my label here and invite artists who have never played in London, like tonight with Skober. You trust and support me, my artists, and my belief in them.

Credit:

Orginal Intwerview by Egg London:

https://www.egglondon.co.uk/news/interview-monika-kruse

BUTCH: THE MAN AMONG STUDIOS, FESTIVALS, GIGS AND CARRIER PIGEONS

Bülent Gürler has been living and breathing music for a few decades now and through the years, his impeccable and sophisticated production style, world-class and highly potent DJ skills, and a striking signature charm have not lost their luster. Though it took him some time to come into his Butch moniker, the Mainz-based DJ/producer has owned his name, its meaning, and the versatile, ever-relevant, genre-bending music attached to it.

Well-loved by house and techno music lovers alike, for his music, charming aura, and convincing sense of humor, not everyone, or anyone for that matter, has what it takes to be the Butch of today’s music scene. Constantly in between studios, festivals, gigs, and carrier pigeons, it’s hard to pin Butch down, but luckily, shortly after the release of his and C.Vogt’s heavy-hitting tune “Desire” on Gerd Janson’s Running Back, Torture the Artist was able to get a few words, a little secret, and surely a bunch of jokes, from a man 1.240 kilometers away from his home.

Hello Bülent. What is sitting (or standing) in front of you right now? How far away are you from home?

Butch: In front of me is the wall of a hotel room. In front of that is my laptop on which I am typing right now. I’m in Barcelona tonight, roughly 257 hours by walk- simply 1.240 kilometers – away from my home.

Thanks for that utmost precision! Which track of yours best describes your mood now? We can’t ask most artists this question but as you have been a track-spewing machine over the years, you can’t skip it.

Butch: “Amnesia Haze”, because I have just woken up from a lovely nap and am super relaxed, looking forward to my gig later!

The summer just wrapped up, how did the season go for you? What did you spend the most time doing? Any special trips or experiences that stand out?

Butch: I was on tour most of the time. What stood out were my own parties, ‘OTHERSIDE’, at the underground club Grießmühle in Berlin and my gigs at CircoLoco Ibiza in DC10.

Before we dig into the music, we’re curious about the story behind Butch. First of all, why the Butch moniker?

Butch: For nearly 10 years I had been making music and slowly, finally, things were starting to click. I had a release coming up, signed by Riley for Trapez and I was excited! But I had a problem. I wasn’t using my old DJ name anymore and I needed a new name fast. Riley kept on getting on my nerves and I kept avoiding his calls. One evening he said: You have until tomorrow, otherwise we can’t put the record out anymore! That evening I watched Pulp Fiction and Bruce Willis’ character is asked what his name – Butch – means. He answers: “I’m American honey, our names don’t mean shit!” I loved that. A name that doesn’t mean anything, I just wanted my music to speak. So I called Riley and told him: “I have a name!”

Where did you grow up and how did you get into music? Did a musical career court you for a while or did you fall in love at first sight? When did this love affair all begin?

Butch: I grew up watching HipHop movies, fell in love with the DJ culture and graffiti and all that. My brother listened to Techno, so I got into that as well. And in the ‘90s, I got started, first DJing and then making beats on the computer. And by then I was obsessed, I just did what I did because I loved it.

It seems like parties come naturally to you. Do you go out often? Can you name some of your favorite venues?

Butch: I don’t really go out anymore, because I have such a full tour schedule. I love going to the location before my gig if I get the chance and checking out my colleagues, though.

Techno heads love your music, house lovers and most others do too, being able to create such versatile and relevant music must start from your foundations. Who were your musical inspirations growing up? Whether or not you agree with genres, what influences would you say, most drive your direction and style?

Butch: The only reason I am so versatile in my productions is because I am even more versatile as a music fan and listener. I genuinely listen to many, many different types of music and don’t really know what influences me consciously.

Rumor has it you are a visual artist type as well, Grafitti ring a bell? What are some of your hidden talents?

Butch: Rumors have it that I am an excellent DJ.

The rumors have it all, supposedly. Can you imagine yourself doing anything else besides music? What was your fallback career?

Butch: I’d write children’s books.

Well, certainly you don’t need that, or any, fallback now! Besides having hundreds (how many exactly?) of productions, whether edits, originals, or collaborations, you’re a well traveled and highly requested DJ as well. How do you find enough time in the studio to keep your productivity rate incredibly high?

Butch: I treat it like a job, even though I love it like a hobby. The job part means: I am in my studio every day that I am not on tour. I stay in the studio for at least 8 hours on a normal day. That’s also my tip to aspiring producers: Inspiration comes through putting in a lot of work and time. Don’t just do it when you feel inspired. Do it to become inspired! You can quote me on your Instagram if you want to sound #deep.

Does this mean you never sleep? At some point in your long and eventful career, did you find the need to take a longer break than you had planned? Tell us the secret behind your extraordinary focus, drive, and creativity!

Butch: I’m going on my first vacation in 15 years, taking off January and February. I’m f*cking exhausted!

Speaking of DJing, you’ve played in some of the biggest festivals and venues in the world, with some of the biggest names in electronic music. How do you maintain that signature Butch charisma? Do you ever feel stage fright?

Bucth: I only started experiencing stage fright when I became more well-known. I think the rising expectations do that to me. But I guess I just need to remind myself that I’ve been DJing for more than 20 years now and that I’m as ready as I’ll ever be and then simply go out and have a fun time!

Throughout your long career as a DJ, can you think of your favorite moment/s at the DJ booth? Which cities did you enjoy playing in most?

Butch: Man, there are too many moments. I loved those milestones: Playing in the Cocoon Club for the first time back in the day or the first time I had a gig overseas. It was an amazing experience flying somewhere and getting to play in a foreign country. Those memories will last me a lifetime.

You’ve collaborated, including remixing or being remixed, with some of the biggest names in both techno, house, and even tech house – Kölsch, Waff, Booka Shade, and even Ricardo Villalobos. How do those projects come about Do you find that working with other artists change you as well?

Butch: Basically those are all personal friendships, which made those collaborations come about naturally.

A few years ago, you formed ButRic with Ricardo Villalobos and released some tracks, will we see more projects in the future? Any interest in playing DJ sets with Ricardo on this moniker?

Butch: There are more ButRic tunes. We’ll see when we plan on releasing them. Everything has its time. We haven’t played a set together yet, but who knows what the future holds?

You and C. Vogt seem to have great chemistry, having worked on many tracks through the years. This year, you are releasing your EP, Desire on Gerd Janson’s Running Back records, which is already gaining a lot of traction within the dance music community. Desire seems to be made from the dance floor, by the dance floor, for the dance floor. Can you share how the idea for the project came about and how it materialized?

Butch: I came across the sample while I was going through Chris’ music collection. We were really lucky no one else had used that sample. The track basically made itself once we had the sample. The only thing that took ages was clearing the sample, I think all in all it took more than a year.

How did the track find its way onto Gerd Janson’s Running Back label?

Butch: Gerd has been a friend of mine for years now and lives roughly 30 kilometers away from me, so it was easy to send him the track, I burnt a CD and sent him my carrier pigeon. He has been playing this tune for ages now and it’s a hit at Panorama Bar.

Now that the project is over, are you giving yourself a little break or do you already have others in the pipeline? What else do you have in store for the rest of the year?

Butch: I have new EPs coming up on Running Back, Freerange, and my own label OTHERSIDE, as well as some more remixes.

The teaser video for “Desire” is quite something, will there ever be a full video for the track?

Butch: Aw, man, I was only bullsh*tting with this. There is no video coming, I was just playing with you.