07.09.2016 17:37

OBJEKT

How did you get interested in Electronic music and especially in sound processing? And what is your musical background?

My background… I was mostly listening to guitar music until I was 18 or so, with some IDM and more accessible electronic music thrown in. Until this time I was spending a lot of time playing in bands and gradually teaching myself how to record and mix demos using cracked software and whatever crappy equipment I could get my hands on. So my introduction to signal processing and audio came partly through this and partly through fooling around with my mum’s very basic home studio (an Atari ST, a few sound modules and a mixer – she was a composer at the time) – but I didn’t get into dance music until I was around 19, by this point having become quite fed up of playing in so many bands and all the grind that comes with it. I took a break from playing in bands and quickly (rather accidentally) got into electronic music instead, teaching myself how to DJ early on and transferring what I’d learned about recording bands to making electronic music on a computer. Meanwhile I was studying for an electronic engineering degree, which included a lot of signal processing and eventually got me a job as a DSP developer at a music tech company in Berlin, something which obviously nurtured my interest in sound and how it can be shaped and processed.

Your approach to electronic music is kind of innovative that make your music very interesting. Can you describe where does this inspiration come from? And how does it work in studio? What is your main priority?

I don’t really know where my inspiration comes from. Some days I have none at all. Other days it comes from my equipment, or whatever I’ve been listening to (usually not techno), or whatever I’ve been reading, or the conversations I’ve been having. A lot of it comes from process itself – my hardware or software or signal chain giving me ideas on where to go next.

You mentioned in one interview that “current climate and the ‘techno establishment’ itself is so conservative that it is hard to listen to”. Do you think that the music you are making now is some kind of reaction or alternative to it?

In a way, yeah, though a lot of the records I release – at least the 12”s – aren’t an outright departure from techno but rather an attempt to bend its functional framework into interesting shapes without losing sight of its primary goal: making bodies move. I enjoy seeing how much creative freedom I can carve out for myself within certain constraints of genre or functionality.

 Beside clubs you have been a part of the big festivals like Sonar at Barcelona etc. of course it ia a different experience, but can you let us know more about your approach to this, where do you find yourself most comfortable?

Give me a small club over a big stage any day. Festivals have their place, but what I find fulfilling about DJing is being able to gauge a crowd based on their reaction to subtle changes, something you can only really do if you can watch people’s faces, see the whites of their eyes, follow the way they’re moving. DJs at festivals end up playing “festival” sets because all of this subtlety gets lost when all you can see is a sea of heads and the only reaction visible to the DJ is everyone putting their hands in the air.

 Can you reveal some future plans in music? What can we expect from you in near future?

Unfortunately I’ve had very little time over the last 2 years to write any music due to other commitments but happily that’s set to change very soon, so hopefully I’ll be able to release some new music before too long. What it’ll sound like I don’t know yet!