Mittwoch, 27. April 2016

Groj in Interview with Traum /// Love You Do (Traum V199)

Traum Interview with Groj

about himself /// about "Love You Do" (Traum V199) /// about video clips

What is your home country? The city you live in is which city? 
Well this is actually an excellent place to begin. “Home country” has often been a confusing notion for me. Especially because I was born in Montreal, Canada, but only started living here at the age of 18. Before that, I grew up in France and Australia with my family. I consider Canada my home now, but my roots are French. Australians a just a bunch of savages.

When did you start to make music? 
Well this is tricky question too… My very first compositions were at the age of Six when I was learning piano and music theory. But the compositions sounded very arbitrary to most people (except my mom) and talked essentially about toilet humor. Things began to change when I turned 19 and turned my mind to electronic music.

What kicked off your interest in making electronic music and how would you describe your style of music
I always liked electronic music. My mother had a large music collection and always played music from the 70’s like Terry Riley and Tangerine Dream, so bathed in it since I was a kid. I personally thought it was always easier to express my ideas on my own or with one collaborator and electronic music made that very easy to do. I had been making my own songs since I was 15 with a Casio keyboard and old Yamaha DX7 and whatever I could find in the house. We had a music room in the basement with a cheap Drum Kit and lots of instruments. I think my style of music has evolved in different ways and has depended a lot on what I was into. First, emotional techno, then AFX, then Krautrock. But I always saw each phases as a learning phase. Only now I begin to understand why I liked these styles and how I can bring the best out of them. But I would not attribute my music to any particular styles, I never intentionally followed any codes. Working with Traum has helped me a lot to follow certain codes of dance music I didn't use to emphasize as much before. I am very happy about that, it facilitates communication and understanding.

Which is the music that inspired you to make your own music. We once heard that you also were quite fond off Krautrock music... what do you think is so special about that music? 
Yes this is true. When I first met with you in Koln back in 2012 I was very animated about Krautrock, or Kosmiche Musik if you find the British term a little patronizing. With some distance now, I see still feel strongly about it, but not all of it... Cluster, Harmonia, Can, Faust and Neu are the bands that stuck with me. To me Krautrock sounds much like Mankind reaching for the stars from a rocking chair. There is a feeling of home, which is something dear to me, and it explores the corridors of consciousness. It is very cyclical and repetitive music which has a nice community vibe to it. I think they showed that you can make very sophisticated and simple music with very limited means. Which is quite an achievement in my opinion. There are particular musicians I feel I get a lot of inspirational power from and they are Ennio Morricone, Robert Wyatt, Richard D. James, Hernan Cattaneo, Syd Barrett and Brian Eno. What is more important to me is the connection and tone you get from music - how does it make you feel and move and think! The musician has to give his music, to be generous and not make music only for himself. He is a vessel, not a god.

Which was the first label you released on and what do you think was the track you released which was a breakthrough for you? 
I really started to take my own dance music production seriously in 2008 after I heard Max Cooper’s remix of Sansula. This lead to my first release “Edlothia” on Ryan Davis’s label Klangwelt. Since then I think my last EP called “Gala” had the most impact on the EDM scene.

We know basically a little about the Canadian scene, we know mostly about music from people who are close to Richie Hawtin - so that this music is quite minimal and often very machine driven and masculine. How difficult was it for a person like you to establish the kind of music you are doing now? 
This was a problem indeed… In early 2000s the minimal scene in East coast Canada gained momentum and so did the post-rock Indie scene with the rise of Constellation records (God Speed You Black Emperor, Arcade Fire etc…). But they were completely different worlds that didn’t communicate at all. I actually went to a lot of local indie rock shows then. I barely went to clubs, but I made electronic music at home. So I was virtually a marginal. As both these movements declined until about 2011 a new hybrid scene emerged and I was actually one of the first to play EDM sets deep into the night after the indie rock shows in the old warehouses on the famous Van Horne street, where Constellation records is based. After that the underground scene morphed into one kind of indie-techno movement. So I am now a happy camper.

When one is listening to your music like the release on seems it is very different from your release on Traum. What was your idea behind the tracks? 
The tracks I made for Zaubernuss where at a time when I was still quite disconnected from the club scene, so they sounded more like electronica… I was in a different mood at the time and explored musical gesture pretty intensely at the time.

You are singing on all of the tracks so with that extraordinary voice do you have any background in singing with bands how was that voice developed so well?  
I never played in a band. I took some singing lessons for a year when I was 17, but that’s it. Singing had always been a solitary thing that I reserved for late at night. I would play guitar by the pond in a place called Parc La Fontaine when no one was around or otherwise in my bedroom. I cultivated this for over ten years, and made around 30 songs. Only a small handful of people knew about it.

We heard you had a special interest in this kind of music that you have not released before, but the switch was waiting in your bedroom to be released… is this true? 
After a while, around 2013 I had come up with a project for an album of only bass guitar and singing, with some drum stuff. I felt like some ideas were good enough to be released at some point but I never was happy entirely. I thought the tracks were too slow and emotional to release with my Groj project and for a long time I thought of releasing them under my own name. But I don’t like dividing myself, so they had to be adapted to Groj somehow… and at the same time I was making more and more club oriented music. So when I heard you asking me whether I had some unorthodox spiritual music with singing and weird recording arrangements it all came together in my head and I knew we had to make it work together somehow.

Are the tracks love songs? 
Yes. And yes they are about only one person. For me… “Closer Space” is about all the thoughts you get when you meet the person you fall for. “Follow Her” is about trust and surrendering to that person’s energy. “Love You Do” is about what it takes to keep that person, even if it means that you are sometimes wrong…

We see you have played in lots of festivals in North America and what would you describe is your status in Canada and in America? This seems to be more to North America them minimal techno so when we listen to the remix of Flowers and the sea Creatures… that show a pretty good understanding of melodic deep house music. So has the scene pretty much changed over the last years? And how did you come in contact with them? 
Well most of the exciting EDM events in Canada are in Montreal. Aside from the underground scene I was describing earlier there has always been a more mainstream scene in Montreal coming from Stereo Afterhours, Piknic Electronik, Igloofest, Mutek and La Bacchanale. They bring all the big names: Dixon, Maceo Plex, Henry Saiz, Hernan Cattaneo, Jeff Mills etc... So I think deep house has just become big everywhere and now it is also being mixed together with the underground indie-techno scene here. It is kind of like a nice spectrum of colors here. Aside from that the guys at My Favorite Robot have brought a lot of musicians together. I met Flowers and Sea Creatures through them and through Strange Town Recordings. We aren’t that many producers here, there is Van Did as well. So we end up meeting a lot at the same parties and playing at the same clubs together and have pretty much the same taste in music.

Which clubs did you play in Europe you liked most? 
Definitely Sisyphos in Berlin was a highlight and I really liked playing at the “Under the Bridge” for Bergwacht. It was the final days of a very special venue collective in Koln under a railway. It was damp and dark and had an epic vibe. The club was built on three storeys, so had three dance floors spiraling on top of one another. Was really a special place. I digged out an old video of that:

I see the video clips were made by your friends and your brother, how did that come about across? Tell us about the footage and how you shot the scenes? The video by your brother show some extraordinary cinematic shots, is he a professional photographer? 
Well close… My mother was a professional photographer. She is now retired, but I can imagine she taught him a few tricks. He is very talented and has an extraordinary eye. A true cinematographer in the making! So my brother and his girlfriend Merilin have so many great ideas and we tried out a lot of shots. They are just not afraid to try impossible things and take risks, nothing stops them. “Follow Her” was shot in extreme conditions. It was in the deep of the Canadian winter biting winds were hitting us at -30 degrees Celsius. We managed by taking 30 minute breaks in a car with no heating, to wait for the pain in our hands and feet to calm down and then went back for 5 minutes of shooting. “Love You Do” was mostly shot in the Tasmanian wilderness. My brother hiked for two weeks in different locations with his equipment to get perfect shots of those unique place you see. We have many cute and entertaining shots “behind the scenes” that my mother documented while we were shooting. I’m sure they will come the light at some point. “Closer Space” was made by a team of friends from Grenoble, France. They have an awesome collective called  “reafforests” that really brings the underground scene in the that city to life. That video clip was shot in the Alps and involved some really cool DIY set-ups.

Would you describe yourself as an indie musician although I really don't know if this term is still so important and valuable but if you see people just doing beats beats and beats doing this merely to become famous or to get DJ Jobs. Perhaps the word "indie" again gets some value!!! 
Well… I think that from the moment that someone is making music from scratch and using equipment altogether under 2000 euros, I would call that being pretty damn independent. But the hard part is not making the shitty equipment sound cheap or too much like punk. An indie musicians knows a lot of tricks and has explored things much further than your average engineer. So to me the word Indie means being resourceful and uncompromising, but also doing it with some degree of class.

Here's some Philosophical question in times like these… in times of war and insecurity, how do you see this effects the music people are making and the attitude of people listening to music?... the opinion from some people is ... What is really important NOW is reliability and something stable during these times, which are so insecure. So music also has to give something to the instincts of the people to make them feel good. In a way this is nothing new but becomes recognizable in our generation. 
The function of music can be quite complex. I actually happen study the effects of music on the brain for my PhD and in scientific terms, it activates the same connections and circuits in the brain as food, sex, drugs and reward in general. Biologically speaking it is an enjoyable activity that 98.5% of the world has enjoyed for over 40 000 years. So the content of music may change according to the times, but I think music serves a fundamental biological function. It is here to help us along the way… with our emotions, our troubles, our frustrations… with letting go of bad energies. More important….it connects people together and conveys understanding beyond language and culture. It is like a little a dose of magic on this reckless earth, and it can never run out.

______________________________   _   ______________________________

Donnerstag, 11. Dezember 2014

Max Cooper - Single Collection on Traum Schallplatten - Interview

Interview / Chat between Max Cooper and Riley Reinhold from Traum via Skype concerning their working together over the last three years resulting in excellent 12“ and digital releases now available as „Traum Collection“ released on Traum on the 18th December.

(Max Cooper = MC || Riley Reinhold = RR)

MC: Hey Riley
RR: Hi
RR: Hey Max
MC: Hello!
MC: So we're going to do a strange sort of interview
MC: More of a conversation
RR: Yes… indeed
MC: I guess we should start where it all began
RR: So looking back on how we started what do you think about it
MC: I remember hearing some music on Traum and thinking it was amazing
MC: before I knew anything about the label at all
RR: It was an instant embracing
RR: So could start from the beginning?
MC: It was a time when I was a bit lost between my science career and my music, not quite sure about what I was going to do with my life
MC: I made some new tracks, and I thought, why not try sending them to this "Traum" label!
MC: And then, two days later I had a phone call from a strange German man called Riley!
MC: haha

RR: So you think the first release was for you still a way of finding your style I guess?
MC: Yes, at that time I was experimenting with lots of different styles. I made some really terrible music
MC: I was trying to find something that seemed to work for me personally, and that other people would like too
RR: That´s the reason you thought including the first EP on the compilation was not perfect i guess!
MC: I think my first Traum releases were the beginning of me finding my feet musically, but there was still a way to go for me
MC: And there still is a long way to go I feel
MC: But yes, my first release was still immature I think, I needed more time to develop and think about my whole process, which was something you said to me straight away
MC: You told me to bring concepts into my music and to tell more of a story
RR: Yes I thought to challenge you might reveal different qualities. 
Connecting your science work to music then gave us the way of developing a loose concept… so that was the starting point!
MC: Yes, and it was a technique that I went on to explore a lot, and something that is still central to how I go about my music process
MC: It started with loose ideas tied to pieces of music
MC: But developed more into concepts driving the production process
MC: But there was also a lot of misunderstanding
MC: I remember people thinking I was using science and maths to make the tracks, which wasn't the case
MC: The science ideas have always been useful creative tools to make me try new techniques and ideas musically, but it's not like I have a magical "big tune" button on my computer that I press and it spits out my next hit!
RR: I remember on Beatportal-Forum how the people talked about your math approach.
RR: When was that again do you remember?
MC: haha yes, it made me take on a specific approach with what information I put out into the public realm - it's fine to say something unusual and crazy sounding, but if you do, you need to be very careful that everything is correct and precise, because things very quickly get taken out of context. I think I've annoyed PR people with my obsession to try and get everything precise and correct since then
MC: I think that was around 2008
MC: So you encouraged me to use concepts, and to think about music in a more wide way, taking in any information that isn't traditionally associated with music, and tying it to musical expression somehow
MC: It's a very useful way to work, with endless possibilities when you start to find all the different ways other information can be translated into musical form
MC: It was also tied to me obsession with music videos, which also began with our first release
RR: Yes an identity on the visual side is also essential for us at Traum. We think it put us in a place where we belong.
The music you then released with us was a flow of ideas , I quite like that. I see artists controlling their work more and more in the course of their career and that comes natural… since you intend to form a distinguished handwriting - to give a shape/definition remote from music … but I still like the instinctive intuitive early works with artists!

MC: The other great thing you did for me at that time was to hook me up with the artists on your label for remixes... we did lots of remixes!
MC: I think it was the early remixes of Dominik Eulberg and Extrawelt, some of my first releases on Traum, that really helped get my music out there to people
MC: That's why I wanted to include the remix of Dominik's „Sansula“ on this compilation release
RR: Well we are working here at Traum in a way that we try to help each other. Some people speak of a „Traum Family“.
RR: I try to build up an appreciation for the music and not only for the artist. It is a quality of Traum that benefitted you at that time.
MC: You certainly work differently from most other labels - for a start that you even listened to my random demo arriving in the post
MC: I think most labels don't listen to most demos
RR: Well a demo is always random in a way I think, a lot is coming from the stomach… but it is way of working for us at Traum, that we do not search for an established artists right away but want to develop with the artist. This attracts also other artists. An artist like Robert Clouth sure recorded for us because you were on our label.
MC: So I was very surprised you heard mine and then called me
MC: It's a good thing, and you've brought through so many new artists as a result

MC: I want to ask you about how it was running the label back then?
MC: In 2008
MC: In comparison to now - how have you seen things change?
MC: Or since even earlier, since you started Traum?
RR: I basically try to stay exactly the same in my way to discover quality music. It it is harder not to change then to change. Change is not always positive in this respect. But for sure fine adjustments must be made. Nowadays I really have to explain people that two tracks are no a demo for us. That 4-5 or 6 tracks are pretty good to work with and to select a good Ep out of the best tracks or even encourage the artist to emphasize a particular quality on the EP by adding another track. With you and Dominik Eulberg, Extrawelt… and all other artist on our label Traum it was never a question. I think that changed.
RR: We accept demos because it is our way to support also people who are not in a network but work on their own… who are not friends with big DJ´s that support them… so it is the music very much we are keen on... I think there is a lot of hurdles in life we don`t want to make it to complex. We also help in the process of enhancing the recording.
MC: Yeah you used to drive me mad with changes!
MC: haha
MC: But in the end they always made the tracks better
MC: So I learnt from it
RR: Well it is a process… they are never easy these corrections… more of a pain but  then the outcome is all worth it... yes!
RR: I also believe in cultural differences. Each label should work differently… so they protect the electronic scene in the long term.
RR: You know what i mean?
MC: Yeah if everyone works the same way and releases the same sort of music that well sell the most then the whole scene becomes totally dull
MC: Just as in any natural biological system, variation is the key to longevity
MC: As long as there's enough variation out there people can always find something new to get excited about and techno doesn't melt away like so many other genres have done
MC: Although most of my favourite tracks I did with you on Traum weren't the techno tracks
RR: Well… also we are now more open for new expressions within the electronic ways and that is also due to the artsist that record with us... on our new TOUR DE TRAUM IX released in this December we release more „non techno“ tracks then we have ever released for years… I think the thinking of electronica was also going into the idea of writing the track „i“. We asked you for something non DJ!

MC: I would make one Aside, then also a Bside track DJ´s could play, and you would say… „for the last track just do something weird“
MC: Yep that was the first one!
MC: You asked me just to do something weird, whatever I wanted, and that was probably the first decent track I'd ever done
RR: Yes, I remember I said: have the courage to leave the DJ path.
MC: Then we had the classical experiment with "the end of reason", and the broken beats experiment with „Automnemonic“
RR: Yes to cross the border was expending our horizon as well.
MC: Those also were probably the most important tracks for me moving forward creatively, in terms of what I'm most interested in now
RR: I remember „i“ was the first track Dominik Eulberg said was great and he played in in his sets.
RR: I tried it myself and there was so much sub bass I almost killed the PA.
MC: haha....yeah - "i"
RR: Not a good PA though I must admit!
MC: It's got way too much lows for most club systems
MC: It sounds nice on a Funktion1 or Void system though
MC: really warm and enveloping
RR: The PA´s have to grow with the developing of the musk, in many ways they do, but not always.
MC: But on a crappy system it's dancefloor clearing time!
RR: I remember you like the sound in the Grelle Forelle in Vienna!
MC: Yeah it's great sound there

MC: I learnt quite quickly that a lot of my music only really worked on certain systems
MC: It's still the same now
RR: It was the first time I heard your music in the same quality as it was recorded it was also frightening!
MC: I write my music as much for home listening as for clubs, and sometimes I want to explore ideas that really don't lend themselves well to some club set ups
RR: Totally understandable becoming a slave to a sound system is no good.
RR: I do like a slightly „dirty“ or rather charismatic interpretation I believe… in music, so the it is less predictable. I know you do not, haha!
MC: Yeah sometimes the dirty interpretation is what is needed
MC: That's part of the reason I decided to do mainly Live/DJ hybrid sets
MC: Because some club systems just aren't suited to all live stuff from me where I've got so many layers and detail which can get lost
MC: (Or you could say I just don't know how to make proper club music)
MC: But that's fine, I'd rather make what I want to make, and not be restricted by the limits of what sounds good in most club set ups
RR: Well vinyl guys are so much different from the new creative digital kids… they make everything smooth and big sounding… that is not always possible with complex arrangements.
MC: As long as we had the Aside and Bside that will work, the last track can be a clanger!
MC: What about the time we printed two tracks on top of each other on a vinyl?
MC: haha
MC: You probably don't want to bring it up!
RR: I forget about this one… rather painful, don´t remind me.
MC: But hopefully we can see the funny side now - My friends all asked me for copies of it
RR: Its good you take it easy, it happened only once with TRAUM.
MC: That's the difference between digital and physical... once it's out there there's no changing it… maybe we’re missing some great mistakes these days
RR: Well sure once things leave you… you don`t have any influence on them anymore… only in your head. Like a hard disc constantly spinning... hopefully not for too long though… new things come and bring along new inspiration.

RR: What was you favorite track with us?
RR: Force yourself to pick one!
MC: Hmmm, probably „Automnemonic“. Because it sounded different to most other things, it didn't (and doesn't) really fit into a normal genre, but it still really works in a club, or at home - which is a combination of factors that I'm often (unsuccessfully) aiming for. It was also made using some new technique for me - mainly me making really weird noises into a microphone and messing with plastic bags, to make the main vocal style robotic hits and the details
RR: Yes it is also one of my favorites, it always works when I play it in a club... sounds pragmatic I know.
MC: I think it's important to try new production techniques with each track so you can keep learning, I don't do it enough
MC: It's funny too, I remember we used to argue about kick drums
MC: You used to tell me my kicks needed to be louder
MC: And I thought they needed to be quieter
MC: Now when I play the old tracks, the ones that I used to think the kicks were too loud in, now sound the best to me
RR: Well that is still a thing I am obsessed with… haha!
MC: Because I think in recent years people have become accustomed to louder kicks
MC: So you were ahead of the game back then!
MC: Loads of people were doing these quiet kicks!
RR: Well we sure knew the weakness came with the people who had not yet build up a studio and could not evaluate the physical side
MC: But all that said, the most interesting thing for me is the understanding that there isn't really a "correct" way of mixing a track, within certain constraints of course - there is flexibility, and a lot of it comes down to trends and personal preferences which can change with time
MC: It depends on what technology people are using in clubs too
MC: Sound systems, what they're playing the music with etc (vinyl obv placing certain restrictions on how things need to be mixed)
MC: Although the best music tends to still sound great even when it was made 20 years ago!
MC: So the subjectivity thing only goes so far
MC: It's quite a minefield making music - like some sort of battle with yourself where you're always questioning everything and second guessing yourself
RR: I think there needs to be a balance in a mix, because if there is none it´s not really enjoyable… I am not talking about white cube music… that is a different story with labels like Raster Not on Music or Sabotage Records… they are striving for something else
MC: Yes balance is required
MC: But within that realm of acceptable balance, there is still flexibility
MC: Kicks can still range in level and the track can sound fine, it just depends how much emphasis you want on the kick relative to the other elements
MC: I used to prefer my quieter kick tracks and think they sounded better when I played them
MC: Now I prefer the louder kick tracks
MC: Maybe because of the whole DE techno thing
MC: Which has taken over
MC: The Berghain influence!
MC: I'm sure it's pushed up the level of kicks around the world!
MC: haha
RR: For sure there is no 100% recipe with kicks.
MC: It must be funny for people who aren't interested in techno - so confusing how so many people can be so obsessed with the minutiae of (evenly spaced) kick drums
RR: I agree you need to stay away from too much technical details, they can draw you away from the main intention of a track, but some sounds are only sound good because of a technical quality.

MC: Anyway, I wanted to ask you about how Traum first started, was it true you were working in the Kompakt record store... when was that!?
RR: I say some of the best kick drums come from Robert Babicz and Radio Slave.
MC: (Yes Radio Slave certainly has some of the best kick drums!... and Robert's stuff always sounds huge on every system I've heard it)
RR: Ok no more kick drums!
RR: Ok, I was working for Kompakt before they were called Kompakt, there was a time when they were called Delirium which was a record shop chain in Germany, most namable the one in Frankfurt, but also the one in Cologne then run by the Kompakt people. Mike Inc., The Modernist, Jürgen Paape etc.
MC: And that was a record shop + a record label?
RR: It was only a shop then in Cologne… the label Delirium came from the Frankfurt side and was not connected to the Cologne side… I remember in my first days I worked for them, I ordered 10 of the first Basic Channel release with a Jeff Mills on the flip side in dark red vinyl - my favorite vinyl color of all times, like dried tomato ketchup - but the copies would not sell, and then Sven Väth had the record in his charts and all sold in two days.
RR: It was my first success as a tastemaker and also the first contact with the commercial side of music because they did not sell at once and everyone in the shop looked down on me. Well I had enough courage and it confirmed that I had a good sense with music.
RR: When Kompakt shop opened I wrote a track with Emanuel Geller called „Messbecher“, which was 15 minutes long and had to be cut to be featured on the First KOMPAKT CD ever… Kompakt CD 001. The story behind it was that I was playing the track from tape in a club before it was released, it was the „Liquid Sky“ club in Cologne and Holger Czukay from CAN came up to me when I had played the track and said that was a cool track… so my confidence grew… I had understood something along the way. That was about 1995… I would have to check.
Working in the shop meant choosing records for people… my interest was to push something new and exciting… and this was also my intention when we founded the label TRAUM with my wife Jacqueline. I think there is a lot of chances one has to take to get to the point where one is happy.
RR: What is an exceptional moment you had encountered when you played one of your tracks?
RR: Did anyone help you on your way apart from us as the label?
MC: Yes, lots of people have helped me along the way with supporting my music and playing it. It's impossible to list everyone, but certainly in the early days Minilogue, Dominik and the Extrawelt guys were great in letting me remix their work (even if it did require a nudge from you!), and Sasha was very supportive then too, again getting me involved in terms of remix work as well as gigs. Perc has always been great too, even though our music is very different, we've had a few productive remix combinations - he did a mad remix for me recently, which just sounds insanely huge on a club system, and also makes people think the world is coming to an end - he's definitely been an influence for me.
MC: No, just a difficult question!
MC: I'm sure there are loads more people I should mention, my manager Grant Heinrich of course, who has been working tirelessly with me for years
MC: And so many more
RR: I come back to the point where you say, it was a bit strange that we the label TRAUM directly agreed on your first trax.

RR: I just saw the Kraftwerk documentary on ARTE TV, and there were a lot of german pioneers of electronic music on there… and they said, what I always say, that the German scene was never as good as the British scene then in the seventies but there was was genuine and intuitive approach with bands like Can and the German scene at that time. Noting that Can was one of the more successfully German Bands on international territory.
To improvise and to be flexible also in terms of label work is something we cherrish and looking for the kick is another thing which drives us. 
RR: When you came along we had a kind of guess what could emerge from it.
RR: German pop music is still bad in Germany with few exceptions… but go for the monotone hypnotic factor in techno music - like Ricardo Villalobos etc… the Can roots are in a lot of us... hope that makes sense and I don`t get crucified for saying this.
MC: You mean people in Germany love precise form (like in electronic music)?
RR: Rather striving for something spiritual but abstract.
MC: You mean people had a lot of their art and projects destroyed because of the political situation last century, or do you think that the environment there hasn't encouraged art in more recent years?
RR: The environment has encouraged art in more recent years but, yes… I think in the german DNA there is still a kind of „inner feedback button“ which has to be switched on and that has an influence on the music… although we see really relaxed music coming from a new generation of German producers especially from Hamburg.
MC: That's an interesting idea, if that’s what you were getting at
MC: On that note, I think it's a good point to finish.
RR: Ok one last word from you?
MC: Ok yes one last word from me...

MC: Thanks for chatting to me Riley, it's been nice to do some reminiscing and looking back at our releases together, along with a whole load of other random tangents!

______________ _ ______________

Freitag, 8. August 2014

Parra for Cuva - Veiled In Blue

Welcome Parra for Cuva at Traum Schallplatten. 

After the collaborations with Egokind for his stunning EP´s it was time for his own project here on Traum! With "Veiled In Blue" Parra for Cuva has created a stunning debut on our label.
Enjoy the official video for his stunning track "Elara"

The Cologne born artist is studying audio design in Berlin at renowned hdpk – Hochschule der populären Künste. He has been expanding his craft, based on a classical and jazz piano education. His music is like a mousse of tunes and twirls, intertwining, falling apart, folding and unfolding at the same time. So expect him to add something to Traum’s range of music we have not yet expressed to this full extend.
Parra for Cuva’s music is in fact an artistic blend of super chill out, slow beat feeling and a rather eclectic approach to House music. All based on innovative and unorthodox sound recording techniques and an intricate arrangement which locates it in the modern world of daring music. His studio is according to him crammed with instruments, equipment and gadgets. As he put’s it in his own words: "For me often the choice of sounds make a track rather then the big studio".

Check the other videos from the "Veiled In Blue" EP and of course from the recent releases on our TRAUM YOUTUBE CHANNEL


Meet Parra for Cuva LIVE on his next stopp

09.08 Thuishaven Op Reis Festival - Kloster Graefenthal (Goch DE) 
16.08 Dockville Festival (Hamburg)
10.10. Übel und Gefährlich (Hamburg DE) 
25.10 Braintheater (Karlsruhe DE)


Parra for Cuva "Veiled In Blue" (Traum V179)
Release Date: 04. August 2014

available at

Freitag, 18. Juli 2014

Egokind - Berliner Produktions Notizen aus Los Angeles

Zu der neu erschienenen EP "Nothingness", hat sich Egokind etwas Zeit für uns zwischen seinen Gigs in New York und Los Angeles genommen, um uns ein kurzes Interview zu geben. Wir freuen uns, Euch ein paar Internat Preis geben zu können. Viel Vergnügen.

1.) Erstmal Danke, dass Du Dir Zeit nimmst, mit uns zu Plaudern. Sag uns, wo Du gerade bist und wie Du Dich fühlst?

Lustigerweise bin ich gerade zum ersten Mal in Los Angeles, einer auf jeden Fall ziemlich ungewöhnlichen und vor allem heißen Stadt, weit weg vom Berliner Technotrubel.

2.) Wie kann es anders sein, das Thema des Tages ist das neue Release - erzähl uns in Deinen Worten ein wenig darüber, wie es Zustande kam und was Ihr dem Hörer damit vermitteln möchtet?

Die EP besteht aus drei Tracks, die alle auf ganz unterschiedliche Weisen entstanden sind und auch alle fast schon gegensätzliche Aufgaben haben.
"Nothingness" ist der harmonische Tunnel-Club-Track.
"Fatigue" ist ein Stück von Andreas ("Ozean") und mir, basiert im Grunde auf einem fast schon naiven Klavierriff, das durch eine psychedelische Welt schwebt, und soll einen einfach nur umarmen.
"One Love" ist für die Freaks.

3.) Während des Enstehungsprozesses der EP, gab es da auch lustige, denkwürdige, besonders inspirierende oder interessante Momente und Situationen?

Das Titelstück "Nothingness" ist der Track mit dem längsten und gleichzeitig kürzesten Entstehungsprozess, den ich jemals erlebt habe. Ursprünglich war die Grundlage eine komplett andere Idee, an der ich mir monatelang die Zähne ausgebissen habe und irgendwann nur noch frustriert war. Dann habe ich in einem Moment der absoluten Verzweiflung das komplette Projekt gelöscht, innerhalb von ein paar Minuten einfach ein spontanes Synthieriff durch meinen Prophet laufen lassen und ein paar Stunden später war ich auf einmal fertig. Dieser energieraubende Weg hat sich 
also letztendlich in einer Komposition entladen, die so extrem schnell entstanden ist, dass ich gar nicht erst dazu kam darüber nachzudenken. 

4.) Welche Stücke haben die Clublandschaft Deiner Meinung nach geprägt?

Für mich fängt Techno irgendwie schon bei Komponisten wie Terry Riley oder Steve Reich an. Würde man das halbwegs gut anstellen, könnte man diese patternbasierte Musik bestimmt sogar im Club spielen, ohne dass jemandem auffallen würde, dass die Stücke teilweise sogar aus den 70ern sind.
Ansonsten gibt es natürlich auch viele elektronische Künstler, die Zukunftsweisend waren. Besonders sticht für mich dabei "Aphex Twin" hervor. Erst neulich kam ja ein unveröffentlichtes Album zum Vorschein, das vom Sound und Style her genau so gut in diesem Jahr hätte produziert und veröffentlicht werden können. Das finde ich schon ziemlich beeindruckend.

5.) Welche Künstler haben Deinen Sound beeinflusst, inwiefern?

Im elektronischen Bereich interessieren mich hauptsächlich Musiker, die eine ganz eigene Art von Soundästhetik oder Melodiesprache haben. Ich denke da beispielsweise an James Holden, Caribou, Four Tet oder Burial. Jeder hat einfach einen ganz eigenen Sound und nichts hört sich nach diesen ganzen nervigen Samplepacks an.

6.) Wer oder was inspiriert Dich im besonderen?

Im Grunde genommen kann wirklich alles inspirierend sein, wenn man halbwegs bewusst durch den Tag geht. Selbstverständlich kann man sehr viele Ideen und Energie aus Filmen, Bildern, Texten oder anderen Musikstücken ziehen; aber auch viel nähere Dinge, wie zum Beispiel Natur, Städte, Lichtverhältnisse, ungewöhnliche Situationen, Gespräche. Die richtige Antwort wäre für mich wohl "alles".

7.) Was passiert bei Dir demnächst, Releases, Live Gigs oder ähnliches?

Schon vor längerer Zeit haben Andreas ("Ozean") und ich den Entschluss gefasst, gemeinsam unsere Gedankenwelt in Form eines Albums zum Ausdruck zu bringen. Jetzt sind wir endlich an einem Punkt angelangt, an dem uns klar geworden ist, was wir eigentlich wirklich machen wollen.  Nach unzähligen Tagen und Nächten an der Gitarre, am Klavier und im Studio ist nun endlich etwas sehr ehrliches und persönliches entstanden, mit dem wir mehr als glücklich sind. Das Release ist Anfang Oktober auf TRAUM, man darf also gespannt sein :)



Egokind "Nothingness" (Traum V178)

available at Beatport
and iTunes

Video on Youtube