Another release on Ostgut Ton that I didn’t mention earlier is “Cigarette Glow” (one of my all-time favorite tracks) with your friend Phase Fatale, which appeared on the Ostgut Birthday Compilation. From there, you started performing live under the pseudonym Vague Mécanique. Can you tell us more about this intriguing project?
Ostgut Ton asked for collaboration tracks from each artist on the label for the compilation anniversary. Obviously, Hayden and I knew we would fit sound-wise. So we exchanged sounds, sequences, Hayden sang on the track, and we had the track ‘Cigarette Glow’ ready. From there, we decided to perform live together, and our booker suggested we call ourselves Vague Mécanique. Under Vague Mécanique, the focus is on creating a kind of sonic narrative that perhaps deviates from what people typically expect from our main body of work. It’s more about the texture and mood, where each performance is unique and tailored to the space and the audience at that moment. It’s really about capturing the essence of live spontaneity and the raw, unfiltered energy of techno. What’s amusing is that we did this purely for fun, without ever planning anything. It was more of a time-limited project that we offered to certain clubs. After that, we’re not sure if we’ll continue with this project in the future, but maybe we should make a track or two beforehand.
During Milan Fashion Week in 2019, Prada used your track “Warm Leatherette” (2018) as the soundtrack for its Spring/Summer collection, paying homage to one of your all-time favorite tracks, “The Normal / Warm Leatherette” from 1978. Miuccia’s musical choice seems to be highly consistent with the mood of the runway. There has been talk of subversion, nostalgia for the ’60s/’70s, and a new techno lady under the Prada label. What kind if feeling did this event evoke? Do you have any kind of relationship to fashion?
It’s always a pleasure to have some of my music selected for fashion shows. I know my music has been used by various brands like Prada, Raf Simons, Miu Miu, and Zegna, but I’m not deeply invested in fashion. I’ve known Raf Simons personally for many years, and he has used my music several times, but I don’t focus much on the fashion industry.
“Paradox 1,” your latest EP featuring “Paroxysms” and “Test of the Times,” has recently been released. As you mentioned on social media, this is the first of three digital single releases. I was particularly struck by the first track, both for its meaning (which you brilliantly translated into music) and the video that accompanied its release (a violent eye within which another seemingly calm man is ready to explode at any moment). Is it fair to say that we, as human beings, tend to be paroxysmal (in the figurative sense of the term) at times, even frequently, or is it a condition limited only to those who truly suffer from it?
Your question touches on a rather complex issue. Through these titles, I’m trying to evoke on a more personal level the paradox within me regarding my musical expression. Sometimes, I feel the urge to delve into a very raw, direct energy with harsh sound designs, while other times, I enjoy heading in a more cerebral direction. The concept behind the series of paradoxes illustrates this. Each title has its own energy, and with each EP, we move further away from the original energy of the first title. My paradox lies more in the difficulty of choosing a direction, whether to lean towards the more cerebral or the more raw, the more melodic or the more entrancing. The album will represent, for each track, a different aspect of my expression.
The two EPs, “Paradox 2” and “Paradox 3,” conclude the trilogy. On Instagram, you mentioned that in all three, you’ve explored different techno landscapes: the first one more energetic, the second one more hypnotic, and the third one more EBM. Despite the stylistic differences between the EPs, is there still a connection, or are we faced with another paradox here? Do you think they can be listened to in any order, or does the actual order serve the listener in navigating this musical journey?
Yes, indeed, the ‘Paradox’ trilogy explores various techno landscapes across its three EPs. Each instalment represents a distinct sonic journey: the first EP is characterised by its energetic vibe, the second EP delves into more hypnotic realms, and the third EP leans towards a more EBM sound. Despite these stylistic differences, there is a connection running through them. I see it as a paradoxical progression, where each EP builds upon the previous one while also diverging in its own direction. While they can be listened to individually, experiencing them in sequence provides a deeper understanding of this musical evolution. The actual order serves as a guide for listeners to navigate through the nuanced shifts in mood and style, enhancing the overall musical journey.
I believe it’s almost impossible not to mention the tragic death of one of the legends of the global techno scene, Silent Servant. Would you be willing to pay tribute to him with an anecdote, a track, a memory, or an album? Who was he to you, and in what ways did he influence your career?
The first time I met Juan, Silent Servant, was at Berghain maybe 15 years ago. I had never met him before, and he introduced himself to me. I knew his tracks through Sandwell District, and I was a fan. I met someone who was passionate about music, and we shared a lot of common ground when it came to music. He had a vast electronic culture, and years later, he asked me to release an EP on his label, Jealous God. It was a great pleasure, and he invested a lot in the packaging and artwork; it was really about the art, combining music with visuals. He invited me to Los Angeles to play for a Jealous God night, and we often exchanged emails or met at various gigs. Juan was truly passionate and incredibly talented; every Silent Servant track was fantastic, always a standout element in his music and so enjoyable to play. His music is timeless.
“The Paradox in Me” marks your second fresh album for Mute / NovaMute, succeeding the release of your “Paradox” EP series. Scheduled for release on June 21st, it will be accompanied by a Limited Edition 12″ vinyl. You mentioned, “There’s always a fight between directions. This album represents all the sounds I have within me.” Alongside the previously featured tracks from the EPs, the album includes “In Synthesis” (recently released), “Dark Enough?”, “Shore Break”, “Ephemere”, “Evolve”, and “Glacier.” What should we expect from these tracks? Have you effectively conveyed all facets of your sonic identity, or do you foresee further opportunities for experimentation and exploration in the future?
I think the album represents all my sonic universes well. On the upcoming tracks, you’ll sometimes find slower, darker, or more hypnotic ones. In the end, there will be 12 tracks, each with its own universe but still sharing a common thread of my atmospheres and sonic identity. My musical signature will still be recognisable. However, for a little backstory, I initially planned to finish with a very melodic, almost pop-like track to underscore the paradox between the first and last tracks. Then, I asked an artist whom I greatly admire if she could sing on it, and the result was impressive. So much so that to avoid losing this track, I found pleasure in producing songs in this new spirit. With the singer, we found common ground and enjoyment in continuing with new tracks… and there, I’m answering your next question ahead of time.
Beyond the upcoming release of your next album, do you have any other exciting news or developments that you would like to share with us?
I’m working on a new electronic project, which won’t be for the techno or EBM universe; it’s something very musical, melodic, even melancholic, with a talented artist whose universe I appreciate, and she has a beautiful voice. It’s something that brings me a lot of joy to work on because it’s a new challenge, a new universe, and I find myself creating different sounds. We’re taking our time, there’s no pressure, just enjoyment.
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Editor Nasty2023-10-09 15:19:182024-10-14 16:43:01Berlin Atonal 2023
