[Music & Interview]: Phara

 

Music & Interview
Phara

 

Introduction:
Belgium’s Phara

 

Interview:

hello Robin. nice to have you for our small interview which is accompanied with an exclusive mix. Let‘s start with your childhood and youth. Where were you born and grew up? When did you get in touch with music the first time? What kind of music did you enjoy being a teenage boy? When did you discover techno?

I grew up in a very small village on the outskirts of Brussels. I was literally surrounded by cows, fields and had one bus a day to go to the nearest city. That was until I hit the age of 15 and both my grandfathers died in the same summer. My parents decided to move near Aalst in order to take care of their mothers who were left all by themselves. You could say I spent the bigger part of my adolescent years in Aalst. I had an amazing and careless youth on which I reflect in a melancholic way. Music has always been a pretty big part of my life. I remember my dad playing the piano for me and my sister when we were kids. He also owned a collection of “strange” synthesizer music which he played during weekends. I didn’t get that kind of music back then and laughed at him. Nowadays the bigger part of this collection is at my place. At the age of about 7 years old I started to take music theory classes and learned how to play xylophone, marimba, timpani, drums and so on for the following 8 years. It was my dream to become a professional percussionist. All of this determined my taste in music in a very wide variety, but it would be a shame not to mention the tons of skate videos I watched when I was a teenager. I got to know the best rock, metal, rnb, hip hop, electronic music etc. through those videos. From The Strokes to Jedi Mind tricks, my 250MB mp3 was something else. My interest for techno is something that evolved along my interest for electronic music in general. Later on I noticed there are a lot of drummers/percussionists who got into techno and it makes kind of sense because you basically do the same thing on another level. By experimenting with rhythms, sounds and textures you create a certain kind of groove and this why I love the genre so much.
 

Phara 1
(promo pic of Phara)

 
Your career started with the release of “Next Of Kin” on Black Sun Records in 2016, an album. Usually young artists have to release several EPs before they find a label that “risks” an album release. How came it up to this? Did you try to release EPs before it or was it your wish to start with the album? How did you get in touch with the label? Afterwards you also released EPs e.g. on labels like Planet Rhythm, Stockholm Ltd. and Sonntag Morgen. Is your process for producing an album different from the one for EPs? How does it look like? With which elements do you start the production and what are your inspirations?
I didn’t approach it as an album really, so I consider it more like a kind of “double EP” personally. It’s a compilation of my first steps into making techno. Literally the first techno tracks I ever made using the old faithful Korg Electribe EMX-1 and a MicroKorg alongside Ableton. I sent my demo tracks to a handful of labels including Black Sun and got immediate response, resulting in “the album”. I was super excited because Black Sun is a label that kickstarted a lot of careers (e.g. Sunil Sharpe, Blawan, AnD,…) and it matched my envision for what I had in mind with “Phara”. The labelmanager and head of Ready Made Distribution, Tony, who is pretty known in the Berlin scene appeared to be a very nice guy and gave me the opportunity to get an unknown person’s music out in the form of “an album”. I didn’t know, but later on he told me that Silent Servant took care of the artwork which was the icing on the cake.
 

(snippets of “Next Of Kin”, BSRLP01)

 
Apropos productions. You just delivered a remix for Border One‘s EP on Escapism. Do you enjoy working on stuff initially created by someone else? How do you start with remixing? Is/are there any artist/s you would like to make a remix for? Any specific things about the one for BO?
Remixing is one of the hardest things to do for me, that’s why I don’t remix everything. I have to hear in which direction my remix would be going when listening to it from the first time. The main goal is to have fun in the studio and not to force out a “product” that frustrated you most of the time. I generally work a lot longer on a remix than I do on my “own tracks”. I’ve always loved Steven’s productions and even collaborated with him in the past for Rapid Eye Movement so I knew chances were pretty high I was going to like it.
 

(full stream of Border One’s “Restive” remixed by Phara, ESCAPISM006)

 
You perform under the moniker Phara. What does it mean? How did you find it?
Named after the most hideous sweatshirt I ever bought in my life. A gold Pharaoh, that was printed all over the sleaves and body. Really gangsta. It was laying on the floor when Black Sun reminded me for the 5th time they needed a name to put on the record. Still don’t know what came to mind when I ordered it, but luckily never wore it.
 
Above I already mentioned Border One. Since recently you both were announced to join the Voltage Festival agency. I guess you weren’t a stranger to the Voltage family? What is your connection with the festival and what can we expect from it?
Parallel Circuit who started Voltage Festival was the first to contact me and to guide me into the scene. It came to Steven’s (PC) ears I was going to release on Black Sun, so he approached me with the question to join the project as an artist. Voltage already existed before I started to make music under the Phara moniker, but you can say they were there from day 1 for me. All of the artists at Voltage grew alongside each other with a different sound, different methods, styles and identities, though still with a like-minded attitude and vision on music. With the Voltage record label, which launched last summer, it took things to another level. If everything goes well, I’ll be having an appearance on it with a full EP to be released this year of which I’m very excited.
 


(after movie of the Voltage Festival 2019)

 
Belgium. For me it is one of the countries were Electronic Body Music was born (Front 242 etc) that had a big influence on the European techno. But there is also a nice “modern” techno scene. What do you think about the New Beat /EBM scene and its influence? How would you describe the scene and situation of electronic music in Belgium nowadays?
Those were the days where Belgium flourished I guess. Our country had its own musical identity and people from all over Europe came here to party 5 days straight in subwoofered Volkswagen Golf cars. Sadly enough I can’t talk from experience, but I must have watched every documentary concerning New Beat and early 90’s Belgian rave by now. The musical relevance and influence Belgium has/had on electronic is incredible. For such a small country you can state we delivered a sure amount of musical heritage throughout the years. In the end a lot of clubs lost the fight with police and the epic era of Belgian nightlife came to an end. Something we recognize nowadays with the pretty recent “temporary” closing of Kompass in Ghent because of a drug casualty. It’s kind of sad how Belgian politics approach these kinds of issues when you compare it to other countries or progressive cities like Amsterdam or Berlin who acknowledge these kinds of subjects and don’t want to hide them by running away or closing them down like it never happened. Nonetheless our shitty nightlife politics, there are a lot of good things happening in Belgium. Everyone knows the big female techno giants, but there’s a lot of fresh talent, ready to be discovered in here. It may sound a little patriotic, but I genuinely hope Belgium will once again get a sound and color of its own but we’re heading for the right direction. In terms of clubbing or festivals there are C12 in Brussels and Voltage Festival who in my opinion don’t follow the herd, but try to book new refreshing things with a strong focus on quality and not quantity. Something we don’t take for granted anymore here.
 

Phara 2
(promo pic of Phara)

 
Talking about old and influential music. Please name 10 tracks/records (of any genre) that had a big impact on your music taste. Why are they important for you?
In random order. …

01. Murders by John Frusciante
Catching rails and grinding curbs with an invisible deck. Legendary ‘Girl – Yeah right’ intro.

02. Disco Rout by Legowelt
One of my first loves and all time hero producer.

03. Asphyx by Sterac
Couldn’t have a favourites list without including anything from Steve Rachmad.

04. Idioteque by Radio Head
Classic that still give me the shivers everytime.

05. Narc by Interpol
15 years old and one of my first discoveries as a picky teenager.

06. Turbine by Clarence G
Those drums

07. Clouds by Gaussian Curve
If I would marry someday, one of these tracks would be the first dance. Amazing (and probably my favorite) album in this world.

08. Flesh by A Split Second
Considered to be the first new beat record ever made by slowing it down by playing it at 33 RPM. Classic.

09. Our Darkness by Anne Clark
There has to be passion.

10. All Along The Watchtower by Jimi Hendrix
Almost – Greg Lutzka. Used to bingewatch skatevideos at that time.

 


(stream of “Our Darkness” by Anne Clark)

 
We met at Arena last year. How do you prepare your set for a night? Do you follow strictly an idea while playing or do you let it flow? What is important at a club for you to have a good night?
I’m a “let it flow” type of guy. I don’t prepare much, but I make sure I know my music when I play and in which kind of situations it can be used. With nowadays technology it’s very easy for dj’s to download a bunch of tracks and play them all along without any feeling. If you know your tracks and when to make a move throughout the entire set, magical things can happen. That’s what I like about playing records instead of CDJ’s; they make me lazy without wanting or knowing it. Record players keep me connected and focused. I’m sure possibilities are endless with CDJ’s and I saw people like Setaoc Mass really juggling with it, but I don’t feel attracted to it that much. I could name a few criteria to have a good gig like a nice sound system, great lighting and so on, but one of the things I like the most is a booth close to the crowd and not on a silly stage with flashy lights on top of you. I don’t look up at the crowd that often, because it makes me a little bit uncomfortable, but I can assure you that one of the best feelings you can experience as a dj is to feel the atmosphere from an energetic crowd crawling on top of you. You connect in a different way.
 

Phara 3
(promo pic of Phara)

 
Following the question above: do you have some favorite clubs? Some where you wanna play? Please tell us some funny or extreme experiences during your tours?
I still am at the beginning of my career, but I’ve already met so many great people and visited great places because of what I love to do. And for that I am super grateful. We’ll see which places or people I encounter along the road. I don’t know if I can already laugh at the situation that you’re about to hear, but in some kind of way I think it was funny. Murphy’s law at its best. I was invited by the Oecus guys to play at About Blank in Berlin last year. For starters I overslept, missed my flight and had to book an 8 hour train ride to Berlin next to some crying baby. With a slightly negative mindset and a head ache, I arrived in sunny Berlin and met up with some friends. About a week before my girlfriend decided to join us because we hadn’t seen our friends in Berlin for a long time now. She booked a flight, but since it was this last minute she had to get a connection flight in Stuttgart. In the meanwhile I joined my friends for dinner on a terrace, was having a drink and a laugh until my girlfriend called with the message her connection flight got cancelled because of a bad storm. She got stuck in Stuttgart for the night, crying over the phone because she was looking so much forward to see everyone and to have a good time. (Note: she barely cries, but when she does, my heart always shatters in 10 000 pieces, it’s the worst). Slightly depressed, but dazed by my friends’ comforting wines I arrived at About Blank. Didn’t play very well which fed my negative spiral, so I called it a night right after my set. The day after I was planning on meeting up with some friends at Tempelhofer so I took a shower and prepared to leave. All set, I took my bag, looked for my wallet, kept on looking, but eventually never found it. I realized that I had lost it or it got stolen, which meant I got stuck in Berlin without any money, passport, etc. Belgian embassy was closed during the weekend so I couldn’t get a passport to fly back to Belgium. Fed up with everything I decided to buy another train ticket from Berlin to Belgium to leave the next day. The same evening I went out for a drink, got some shots because wine didn’t do the job anymore and walked into a very intimate concert of a wave performance by Laura Krieg. I bought her cassette instantly and it still is one of my current favorites one year later. She appeared to be completely unknown, but she could easily be on a Minimal Wave compilation. After another 8 hour train ride I arrived back home the next day.
 

(full stream of Phara’s “Velvet V.”, PRRUKBLK044)

 
Producing & DJing.. for many artists it is difficult to make a living from the money earn that way. Are you a full-time artist or do you also work in a “normal” profession? What was your dream job while being a little kid?
I always dreamt about a career in music when I was a kid. Back then my main focus was to be a professional percussionist, but along the way the dream about making a career in electronic music surfaced from time to time as well. To this day it still is a dream, but I don’t always dare to say it out loud. I keep on doing what I do with more passion and devotion than ever. I just let it happen. I believe that when you’re chasing a career or money in a subject like music you could get into a loop, full of pressure and forced ideas which aren’t fruitful for any creative mindset.
 


(full stream of Phara’s “Bells” which was released by Voltage)

 
Already coming to an end. Let us know some of your future plans. What’s coming next? Any nice releases scheduled? Or special performances?
2019 was a pretty calm year when it came to releases. I released the Velvet V. EP on Planet Rhythm which did quite a lot for me frankly. I received so many great reactions to that EP. 2020 will look a little bit busier, starting with my debut on Eartoground February 1st and lots will follow after that. I’m very much looking forward to what this year is going to bring.
 

Exclusive Mix:

 

Tracklist of Exclusive Mix:
soon

 

Recommendations:
Phara’s “Road To Manilla EP” on EarToGround Records
Phara’s “Velvet V. EP” on Planet Rhythm
Phara’s “Rosemany EP” on Projekts
Phara’s “Mind Inside EP” on Planet Rhythm
Border One’s EP “Restive” w/ Phara remix on Escapism
sampler “Zener Diode” w/ Phara track on Voltage

 

Booking:
Voltage Agency

 

Websites:
Phara

 

[Music & Interview]: Nico Hoech & Kandy K

 

Music & Interview
Nico Hoech & Kandy K

 

Introduction:
Something different this time… We talked with the founder of the Durch party series and the mix was provided by his resident Kandy K

 

Interview:

hi Nico, very cool to have you for this short interview. Let’s start with a little introduction by yourself. Where were you born and raised? How was your childhood and youth? When did you discover your love for music and which kind of music did you listen to when you were a teenager/tween?
Thx for having me. I will turn this year 40 years old and was born and raised in the former GDR. In a small city next to the Baltic Sea. My family was a typical socialist family – there was no time for music. It was all about work and work for community. In the end of the 90thies I discovered punk and skin music. Counterculture by itself. And the same time techno reached my heart – time of MAYDAY and underground raves.
 

Durch 1
(Nico Hoech, founder of Durch)

 
I guess it is not a secret that you are gay as you organize queer parties. So we would like to know a little bit about your personal situation at home with parents and relatives, your hometown, your outing etc. Was it difficult for you? What are your experiences with friends, relatives etc when you came out?
We can make it short – in my hometown was no gay culture or life. There was nothing to discover, so I traveled as often i could to Berlin to express myself. It was amazing. My hometown was a neo-nazi area, my struggle was different. But my parents were very open minded. I had never any problems with them about being gay – I never had a coming out, cause I don’t want to write myself like a stranger. And i will coming out, when my straight friends are coming out as well: so let’s talk about sex and not about my coming out. I become a queer skin.
 

Durch 1
(Nico)

 
As mentioned above you are the promoter of a queer party series. It’s called “DURCH” and the current Berlin editions are taking place at “Zur Klappe”. When did you get the idea of running our own party? Could you please describe the concept of it? Have you changed anything since you started it? Are there any DJs who play regularly / residents? What kind(s) of music do you have at “DURCH”? What are the criterias you use for selecting the venue for a party (I remember that the first instalment took place at Untertage)?
I started this party with Martin 2,5 years ago at SchwuZ. The idea was to bring the music and party there, where the party mostly started – at the toilets. That’s still our concept. Even Martin is not part of this anymore. After SchwuZ we tried Untertage, cause fetish and sex is part of our concept and the venue fits us well. After a break we decided to move to Zur Klappe, cause it’s a old public toilet. A old gay cruising spot. DURCH becomes resident party at Zur Klapoe and we are happy about cause it combines all what we like: dark underground techno sex toilets.

DURCH stands for hard techno and it’s fluids developments – I like elements from ghetto, which and scouse house as well. We are happy about our residential DJs like Kandy K in Tel Aviv, Luca Eck, Sh Se (before TLV now Berlin) and Dj Hobby (Zur Klappe).

 

Durch 1Durch 1 Durch 1
(residents: Luca Eck, Kandy K, SH SE)

 
Berlin has one of the biggest queer communities and also a vital gay nightlife. What makes Berlin so special/interesting regarding nightlife (queer and in general)? How important is the gay scene for the music scene in general? Which queer parties impress you and influenced your own idea?
Berlin is still living from the vibe from the early 90thies. Everything is possible as long as u believing in it and if there some crazy heads around u. Everybody is talking about the dying nightlife, but there are small unique space like KAKE, build up by queer expats. That’s still the Berlin vibe from the 90thies. And for sure every techno party in Berlin is in somehow in queer party, at least a gay party. ??

The former HOMOPATIK – now Buttons Impressed me most. It’s my home, my castle, my love.

 

Durch 1
(Durch logo)

 
After running several instalments in Berlin you brought “DURCH” also to Israel and have more plans. Could you please tell us something about this? How did you come up with this “export” idea? What did you already do and what are your plans? Do you cooperate with other promoters/parties there? Anything different to the Berlin concept?
DURCH is now running events in Berlin und Tel Aviv. The Tel Aviv idea came after my uncountable visits there. I having lot of friends there and felling part of this city. We were talking a lot of what is missing there: queer community events and underground parties. Last year in September I moved there for three month and we organized some community events like queer art exhibition or bondage workshop or a queer bdsm show. But still DURCH like to celebrate techno parties we organized a real underground rave and a queer techno show at Alphabet Club. DURCH TLV was born and working now by its own: next underground rave is at the 21.2. w/ Luca Eck, Dj Hyperdrive, Kandy K and Aba Karish – underground location.
 

(uploads of Durch on Soundcloud)

 
Beside organizing parties you also work(ed) as bouncer etc. in clubs like Berghain, Griessmuehle and ://about blank. When did you start working in clubs? What did/do you do there? How is/was it to work there as a queer? Any negative experience? How important are queer doormen for a club? Why are they necessary (having latest homophobic attacks in Berlin & other cities in mind)?
I started many years ago … doing security for small punk-rock or techno shows. I was studying and needed the money. I did and doing everything: greeting, doing rounds, Awerness, medical help and social work. In the same way having good experience, u get negatives once’s. From seeing/feeling somebody is dying or was raped up to invitations to marriages. It’s crazy.

I would say it’s important to make the marginalized people at door visible. We need more queer people at the door but in the same way more women* or people of color and many more marginalized people as well. I’m very privileged even as a queer person, cause I can choose to show my queerness or not.

 

Durch 1
(Nico)

 
On instagram you have some photo series (https://instagram.com/durch.party). Please tell us something about them. Are these pictures made for DURCH? What‘s the concept? Who are the photographers and models?
We did once this “instagram armpits exhibition” – all pics (90) were sended by Berlin queers or I did them by myself. The idea was: „it’s time to leave the shelter. It’s time to express urself in the way u are. in the way how u showing ur armpits, u open urself for the view and the person in front of u – u starting to get vulnerable. attachable. but u aren’t. cause we are many. and u are beautiful. 1312 – stonewall was a riot.” It’s mostly about to make people visable. And to great a counterculture. It’s not about likes. It’s about us and our bodies, fetish or desire. Mostly all models are friends or know persons. Same with the photographer.
 

Durch 1
(overview of one of theses exhibitions)

 
We on NovaFuture are music freaks and we are always interested to which music other people listen. So could you please name 10 favourite tracks/records (no matter which style) and tell us why they are important for you?
01. Jung Kaputt Spart Altersheime by Bärchen und die Milchbubis
best punk ever

02. Not In Love by Crystal Castles
cause I fall in love

03. ….. by Dritte Wahl
punk rock who socialized me

04. Stumme Menschen by Feine Sahne Fischfilet
Friends running a band

05. Lebkuchenmann by Georgette Dee
it’s deep meaning German Chanson and I like it deep

06. No Regrets by HO99O9
best band ever

07. Navy Blue by John Roberts
best ketamine music, brought stability in my life

08. Subzero by Ben Klock
makes me feel 17 again

09. Mekong Delta by Len Faki
it’s part of my oldschool berghain which was never exciting (only in my mind)

10. Cold Fusion by The Advent & Industrislyzer
that’s my techno background.

 


(video of “Not In Love” by Crystal Castles ft. Robert Smith)

 
When we as music lovers interview other music lovers, we often just talk about the music and forget that people perhaps also have other hobbies/interests. So we would like to know if you also do some other stuff in your spare time to relax…beside music related issues.
I’m trying to read as much as I can or to travel around the world. Photography and art is something I’m very into it. And I like the opera and theater.
 

Durch 1
(Nico)

 
It’s already the end of our small interview so let’s talk about your future and what’s coming next. Any special news about “DURCH”?
Friday – 7.2. next DURCH at Zur Klappe. (see our feature). DURCH starts Art and a bigger cooperation in Berlin – but the Rest is top secret right now.
 

Exclusive Mix:

 

Tracklist of Exclusive Mix:
CucumB45 – Dog Bark-1 (Demo Version)
Head Horny’s & DJ Miguel Serna – No More
Max McFerren – Well Tempered Ecstasy
Crystal Energy – You Me Sudoku
DJ Reiz – Good Time With A.
M. TouNu & Sergie – Aristocrate (M.TouNu Indus Edit)
POLHØ & WAST – Sensitive Blaster
M.TouNu – No Money
Fury – Neorave
Mega Lo Mania – Close Your Eyes (Cocooma Remix)
Jan Vercauteren – Hellpass
J. Golo, Peke Albeza – Tha Stand
DJ Jose Vol 3 – Kiss Me Hard Before You Go
Scooter – Nessaja
M.TouNu – L’amour Toujour

 

Websites:
Kandy K
Durch
Durch @ Soundcloud

 

[Music & Interview]: Sid Le Rock

 

Music & Interview
Sid Le Rock

 

Introduction:
Sid Le Rock … another Canadian in Berlin 😉

 

Interview:

Hello Sheldon. Nice to have you for our little interview series. We are also looking forward to our exclusive mix that accompanies this feature. So let‘s start with the very beginning. Where were you born and raised? How was your youth? What kind of music did you listen during that the time (being a teenager discovering his first music / records)?
Hey Jürgen. Thanks for inviting me. I’m from the Northern regions of Ontario, Canada. My father was a miner working at a uranium plant in Elliot Lake. Hidden by nature and surrounding lakes, it was a great place to live during my early youth. I’m still glowing from the mild radiation haha. Like an normal pre-teen during the 80’s radio era, I guess I was pretty much in to various styles of music. Mainly synth pop, punk rock.
 

Sid Le Rock 1
(Sid Le Rock, promo pic by Thomas Venker)

 
You came from Canada to Germany in 2003. What was your reason to move overseas? Why at that time? Do you still go back regularly? What are the main differences between/ of living in Canada and Germany?
Needed a change of scenery. Music allowed me that opportunity to see and experience the world.
 

Sid Le Rock 2
(Sid Le Rock, promo pic by Chrisette En Chachette)

 
Your main artist name is Sid Le Rock but you also have several other aliases like Gringo Grinder and Pan/Tone. When did you set them up?And when do you use which one? What is the music style of each?
I’m a gemini, so the aliases fit my multi personal agenda. Pan/Tone was my earliest project. My high musical output at the time required that I create these aliases just to keep up.
 


(video of “Silent Service”, taken from “Sink or Swim EP” on Hafendisko)

 
The first time I realized your existence was with your debut release of “Written In Lipstick” on Ladomat2000 which was a sublabel of Mute Germany in some ways at that time. Could you please tell us something about this time and your start? How did you get in touch with Lado? Did you realize that it was the German dependence of a legendary label with bands like Depeche Mode, Movy, Nick Cave, Erasure etc? After that you had several labels to put out your Sid LeRock stuff e.g. T.Raumschmiere’s Shitkatapult. How did that happen? What was the main differences between these labels? For some special releases you also run a label by yourself, “Cereal/Killers”. How was it being on the opposite side and doing that work? Did you like it?
I was a long time fan and collector of Ladomat’s early releases, so yes I am quite aware of its legendary status. It was always my dream to release music with them.

I simply mailed Ladomat a cd demo, because that’s was we did back in the early 2000’s. They liked what I sent in and we signed a 2 album deal. The label unfortunately folded after the release of my 2nd album – Keep It Simple, Stupid. Same financial pressure of the time the happened to many great labels due to the collapse of record distribution companies.

It came as a relief that my own musical existence was not in jeopardy when I signed my 3rd album with Shitkatapult. T.Raumschmiere and I had been friends since we both meet in the beginning of our music careers, so it felt naturally to do something on his label.

 


(stream of “Close Again”, taken from “Written In Lipstick” on Ladomat)

 
During the Lado time you made a few remixes for label mates like Commercial Breakup. Later you also were in charge of a remix for Mute’s flagship Depeche Mode. Is it different – perhaps difficult – for you to work with stuff of other people (compared to own productions)? How do you start your own stuff and how do you get into the creation of a remix? Depeche Mode are known for being very progressive regarding remixers & remixes – always looking for something new and upcoming. Do you know how it happened that you became one of them? Did the remix help spreading your name and ideas?
It usually depends on the original song. If there’s key components in the track that may be useful, then this aids me in the rework of the track. If the song lacks ideas or just ain’t my thing, I skip it. In the case with my remix for Depeche Mode, Daniel Miller’s label manager contacted me at the time. He said that Daniel has been following my music and would like to hire me for a remix. I was thrilled at the opportunity, of course, but was bummed out that the track didn’t…lets say motivate. I worked through it and managed to come up with two remix versions. Happily, both were accepted. Did it help spread my name? maybe it brought me a new fan-base, Maybe it didn’t. It was pre-social media, so it’s hard to say.
 


(stream of Sid Le Rock’s remix of “My Garden” by Commercial Breakup on Ladomat)

 
Many artists complain that a music career nowadays is more based on image, instagram pictures etc than good music. You are already part of the game for more than 15 years. Do you feel a change? What is different? What do you think about social media? At the beginning of the digital revolution a lot of people said it will become better and easier for every artist. No labels, no agencies, no bad contracts etc. As said above you were mostly signed to a label. Do you think labels are still necessary? Any suggestions for young artists how to start?
Yes there is a major difference in how it has changed. It’s not really about the music, more so about your abilities as a social influencer., but be aware that that does not mean innovator. People often confuse the two. My only advise is do your own thing, have your own voice and stick to what makes you feel fulfilled creative wise.
 

Sid Le Rock 3
(Sid Le Rock, promo pic by Chrisette En Chachette)

 
Back to your work. You also play live from time to time but not very often. Is there a reason for it? How do you decide when it is time to play live or perhaps “just” to spin some records? Which equipment do you use live and how does a live gig look like?
I still perform live and enjoy it but you’re correct, I much prefer to dj these days. It’s much more open and allows me to take a break from my own production. Offers ideas, play longer and nowadays, a lot of venues lack to space for equipment
 

Sid Le Rock 4
(Sid Le Rock, promo pic by Chrisette En Chachette)

 
The initial reason for this interview was the release of your current album “Scenic Route” on Hafendisko. Please tell us something about the content. What inspired you? Which topics are assimilated? How did you produce it?
My longtime girlfriend, family and friends inspired me. It came to me as a collision of all my life experiences – discipline, humility, ego, maturity that processed this new album.
 


(snippets of Sid Le Rock’s album “Scenic Route”)

 
Coming closer to the end of the interview I would like to know a little bit about music you like. Could you please name 10 records/tracks that are important to you and also why?
simple. I listen to good music that fits its maker.
 


(video of “Foreign Love” taken from the album “Busted With A Bag of Bliss”)

 
Already the last question… it is about your plans and your future. What’s coming next? Some interesting projects in the pipeline? Nice gigs you are booked for?
Re-release & re-edits of my personal favourites from my Pan/Tone & Sid Le Rock back catalogue is underway. Beyond that, wherever the wind blows, I go against it.
 


(video of “Cry Wolf” by Pan/Tone taken from the compilation “A 100 Years Of Areal”)

 

Recommendations:
Sid Le Rock’s “Scenic Route” on Hafendisko

 

Exclusive Mix:

 

Tracklist of Exclusive Mix:
01) Sigward feat. Mirza – Head
02) Weval – Half Age
03) Norwell – Citadel
04) Alien Alien – Secret Sabbah
05) Fumoir – 1,2,3,4
06) Sid Le Rock – Judas Beast
07) Undo – Computer Friends (Cabaret Nocturne Remix)
08) Audio Junkies – Synopated
09) Bog – Orgins (Malbetrieb Remix)
10) Bardia Salour – Persepolis (Sid Le Rock Remix)

 

Websites:
Sid Le Rock

 

[Music & Interview]: Peryl

 

Music & Interview
Peryl

 

Introduction:
Peryl … a live act and producer like no other. Intense, dark, rough and driving,

 

Interview:

Hi Dennis. Nice to meet you virtually for this small interview. Let‘s start at the very beginning. Where were you born and grew up? What kind of music did you enjoy in your teenager years?
Thanks for having me, it’s always a pleasure to work with you and the novafuture blog.

I was born and raised in a smaller city near Tübingen in South Germany.

When i was four years old i started playing drums and created my own style of punk/metal music. Later my two siblings influenced me into the punk scene. At a young age i already started to visit some festivals and concerts.

 

Peryl 1
(Peryl, performing)

 
Assuming that you cannot live from the earnings you get with music, what’s your profession? Or do you study (what?)? What are your spare time activities/hobbies/interests beside making music?
I’m working as a event technician so its kinda familiar with the clubbing scene. I’m spending a lot of time with my friends cause this is a really important thing for myself and of course my music.
 

Peryl 2
(Peryl, promo pic)

 
You have 3 EPs out on Codec992, Schizophrenia Crew (now Antagonist Field) and Lebendig. How do you select the labels for your stuff? Are your tracks nearly finished and then got signed by the labels or do you produce on request? If they sign existing tracks are these tracks some kind of demos where some changes are needed or finished ones? Are labels nowadays really necessary to release own stuff digitally? What is the role of a label now – what’s the advantage released on labels instead of doing it yourself?
I always have a bunch of tracks to go. Sometimes i produce on request so i can create an exact mix between my style and the label himself. I think a track is never completely finished. You can always make the track better or change some things on it. I do not think that you need a label to bring your stuff to the audience.

If u have a label to release your work you definitely can reach more people but for me the important thing is to reach the right people. It doesn’t matter how much, it depends on who and why.

 


(full stream of Peryl’ “Du & Ich” taken from “Lust EP” on Antagonist Field)

 
Let‘s go deeper into your production process. Where does your inspiration for a new piece of music come from? How do you start to work on a new track? What are the next steps til your track is finished? You use vocals in some of your tracks. Where do you find the samples or singers?
My inspiration comes from listening to a track, trying to get into the producer’s mind, but ultimately not getting what he wants to say. It sound strange but that’s the actual thing that gives me the punch to create something new.

For me the leading thing of a production is to bring over a message. A message with which the listener can do whatever he wants. Every track from myself has a different effect to every single person so everyone can create his own picture of it.

I generally start with an idea that I have recorded on my iphone, and try to implement it as well as possible. In most cases the finished product is no longer comparable to the idea I had at the beginning. All vocals I used In my own productions are self-recordings. Except the LOVE IS JUST A WORD project. These vocals are made by a very talented girl from Stuttgart called LENA BEE.

The track with luca was a very spontaneous one. I posted a melodic idea I had on my instagram and he instantly texted me that I should send it to him, he wanted to sing over it. I thought yeah it could be nice with some german wave vocals and its also a good thing to create a mixture between my perspective of ,,wave’’ and his special part for it. I love him, he’s my favourite secco-boy!

 

Peryl 3
(Peryl, promo pic)

 
Your music style is a mixture of EBM-ish tunes and techno. What is your personal connection with EBM and Industrial music – music that is based in the 70ies and 80ies with strong comeback in the last months?
For me it’s the perfect mix between the roughness of punk and techno. I’m really into music that isn’t well known. For me music doesn’t have to be big or famous. It has to be understandable.
 


(full stream of Peryl’ “Restrained Devotion” from ISMVA001.1)

 
You come from the southern Germany. Could you please give us a short overview how you see the scene there? Where do you go for party etc?
The main techno scene is really hyped there at the moment but for me I cant really cope with the popular scene. When I go for party I mostly go to LEHMANN CLUB or visit the BASISLAGER events in Stuttgart. Hopefully ill be back in Stuttgart soon but for now I will focus on my start here in Berlin.
 


( video for Peryl’s “Insurgence” taken from LBNG00.03)

 
You already played live e.g. at Synoid / Griessmühle. How do you prepare the sets on the technical side and also personally?
I didn’t prepared any special things for this gig, because I knew that the audience was really open minded and ready for everything. I really enjoyed it there and I can say that I’ll be back in berlin very soon!
 


(snippet “Dein Wahres Gesicht” by Peryl feat. Luca Gillian’ taken from LBNG00.03)

 
Please name 5 techno and 5 EBM records that are essential for you and tell us why.
We have so much good music out there and I can’t decide witch ones speaks to me the most but here are three of my all time favs at the moment.

01. Limelight Roles by Habits Of Hate
02. Variant by These Hidden Hands feat. Lucrecia Dalt
03. Die Konsequenz ist Logisch by Rosa Nebel

 


( video for “Die Konsequenz ist Logisch” by Rosa Nebel)

 
You are a young guy, a digital native so please let us know what you think about the twist between analog fetischist and modern DJ using digital technology.
ANALOG is the opposite of ANA sagte die Wahrheit!
 


(full stream of Peryl’ “Molotov Brutality” taken from LBNG00.06)

 
Yes we are already at the end of the interview. So please share your future plans with us! What’s coming next?
I don’t want to say to much but there are big pans for the future!

I have a side project which is called “FEIND” for some Noise/Experimental stuff.

Hopefully I’ll have some free time in 2020 for some productions or maybe some performances. I’m also looking forward to my lebendig-family, we had a really nice year together and we don’t stop!

Let’s see what the other half of the year will bring over.

 

Recommendations:
Peryl’s “Rebellion EP” on Lebendig
Peryl’s “Dagegen EP” on Lebendig
Peryl’s “White Tight Space” on South London Analogue Material
Peryl’s self-released “She Said It’s Enough EP”
Peryl’s “Lust EP” on Antagonist Field
Peryl’s “Not Yours EP” on Codec 992
compilation “ISMVA001.1” w/ Peryl track on Ismus
compilation “Various Artists II” w/ Peryl track on RND. Records

 

Exclusive Live Set:

 

Tracklist of Exclusive Mix:
this is a live set recording during one of Peryl’s gigs

 

Booking:
Sinus Agency for Peryl

 

Websites:
Peryl

 

[Music & Interview]: The Chronics

 

Music & Interview
The Chronics

 

Introduction:
The Chronics … head of the label Bipolar Disorder

 

Interview:

Hi Marc, nice to have you for our interview feature. Let’s start with the very beginning of your life: where were you born and raised? When did you discover music as a hobby (being a music listener) and when did you decide that you want to be part of?
Hi Jurgen 🙂 First of all thank you for having me on NovaFuture Blog. I was born and raised in the beautiful city of Geneva in Switzerland. I discovered music at a very young age because of my parents who would listen to music 24/7. At 8 years old, I inherited an old CD player from my father and ever since, I made it a thing to dig into his CD collection. From Gainsbourg on my father’s side, to The Beatles on my mother’s side, I always had something cool to listen to.

After listening to all kinds of classics, I finally discovered true love for electronic music starting with Eurodance in the year 2000. At this point, I fell deeply in Love with this fast music full of emotion. I got into Techno whilst at a couple of events in Geneva and it was at this moment, I knew that it was the music which make me vibrate the most.

My choice was concretized after a couples of months in Berlin listening to all the greats and being submerge by all this culture related to electronic music. I finally found a place where you can be yourself without being judge. Since then, Electronic Music was a way for me to escape the system and to forget about all your problems. When I had the chance to get my first salary, I spent all of it into my first music equipment that I directly set up in my best friend garage where I started to play for my friends mainly for before and after party.

 

The Chronics 1
(The Chronics, playing with the machines)

 
Could you please tell us something about your artist name? What does it mean and how did you choose it?
Ahahaha, I was sure you would ask this question…. well my artist name is basically based on my first Soundcloud name. At the time I created it I was deeply into the « The Chronics 2001» mixtape from Dr. Dre. so, I was like why not. I didn’t take it too seriously and I had my first gig, my second gig and at the end I kept it this way. 4:20 for Life.
 

The Chronics 2
(The Chronics)

 
What are your inspirations and influences as a recording artist and as a dj?
I would say that my main influences have come from the Eurodance era, which is based on synths full of emotions and fast rhythms. I am also really into all these organic sounds that feel like they come from a living machine, which gives the track a real dynamic and depth.
 


(full stream of The Chronics’ “Contemporary Answer” taken from BDD007)

 
You play regularly in Switzerland and invite people to play with you at Folklor (Lausanne). How do you see the scene there? How would you compare it with other countries?
First of all you have to know that Switzerland is mainly separate in three parts: the French one, the Italian one and the Swiss German one. Concerning the French part of Switzerland, I would say that the scene is born from rave parties hosted in squat many years ago and at this time few clubs were hosting techno events. But since a couple of years techno has been the new thing in our area. We now have electronic music events every weekends in different clubs and during the summer, we got almost every weekend rave parties.

Since 3 years, we have plenty of motivated persons who are getting more and more involved in the scene and who are trying to make things move. The only problem we have regarding our scene is coming from the persons who are doing that only for the hype; pretending to be authentic music lover and make some for a cause but at the end they are only fake persons and this kinda person doesn’t last. The scene here is not comparable to any others because of its lack of maturity but our scene is mainly based on Rave Parties and the spirit of raving remains strong and you can see that there is more motivation regarding a rave party than commercial techno events. Keep it real!

 

The Chronics 3
(graphic for one of the gigs at Folklor in Lausanne)

 
We talked about inspirations but how do you work on new tracks? What is different when you get a remix request?
I finally found my final (LOL) set up (there is no final set up ahaha; that’s why “ LOL“) which is composed of an analog rhythm, my modular and a moog Sub 37. I always start a new track by creating a sound on my synths/modular and as soon as I find something that triggers my emotions, I keep it and build a track around it.

Regarding remixes, it is Christmas every time I received a stems pack. You open it and I discover what is inside. Sometimes it is some pretty good material well exported with nice and well processed parts at the good volume and sometimes it s not… (Laugh) but in any case remixes are for me a way to re interpret someone feelings. I used the stems and process them into many effects to change the way it sounds but trying to keep whats make the original sonority as much as possible. After all the sound processing, I start to build a track which is telling a total different story than the original.

 


(full stream of The Chronics’ remix of “Excessive” by Åre:gone taken from BDD016)

 
You are also part of the duo. We want to keep the name secret but would like to know how you work together as a duo and when you came up with this idea.
The duo is a story of two people who share the exact same energy. It comes naturally that I have to work and collaborate with this special person and after a year of collaboration we ended up with something innovative, which represents us. Living in two different countries does not help a lot so we have to travel to work together. However, we remain an efficient team and have a productive sharing system, and our shared love for music has created a harmonious and efficient comradely.
 

The Chronics 4
(this duo? The Chronics w/ his cat)

 
You are the head of the label Bipolar Disorder which we supported already from a very early stage. Your artist & track selection is very nice. Please tell us something about the history of the label. How do you select tracks/artists for your releases? What is your concept? Most of the releases are digital-only – just 3 vinyl releases are available now. Do you think vinyl is still something that has its value in the scene?
The label was created in January 2016 with the aim of promoting and giving the best tools to local artists who wants to release their music. I would say that I consider more Bipolar Disorder Rec. as a big family of people who are on the same vibe more than a typical label. The concept behind the track selection, without sounding selfish, is based on music we love. There are no special criteria, we focus on the energy and the emotions we wish to share. We rarely accept demos; we always look for artists with potential and based on that we try to work with the artist on the development of an EP.

Regarding the vinyl question, I would say that this format is for me a unique piece of art expressing itself through different support such as audio and visual art. As a physical object vinyl is something you can easily do a collection of and which aims to last forever. I have a lot of respect for artists who spent ages digging for the perfect gems but on the contrary I m a bit tired of DJ’s playing vinyl only for the hype with the famous words; « Hey Mate vinyl’s sounds 10 time better than digital tracks… blablabla ». Vinyl is something you will keep with you forever and that you will pass to your grandchildren like “yeah that was what I was listening at your age” (with a huge smile on your face).

 

Bipolar Disorder
(logo of Bipolar Disorder)

 
You provide an exclusive mix with stuff from your own roster. What is your intention and why did you select these tracks (from over 19 releases)?
I have built this podcast with the aim of showing what Bipolar Disorder Rec. was capable of. The podcast start with some chill tracks setting up a deep ambience and minutes after minutes the emotions will rise and the the BPM will increase to something more rhythmic and more trancy until it reaches its full power and at this time the tension decrease and we go for something deeper with these kind of tracks which will let you in a good feeling fulfilled of love and happiness. I tried my best to play as much as possible releases we had on the label but it is not an easy task; I’m sorry for those I forgot to play.
 

BDD001BDD004 BDD010 BDV001
(a few artworks of Bipolar Disorder releases)

 
What are you all time favourite records/tracks (name them and please also tell us why)?

01. Played A Live by Safri Duo
I was 10 years old when this track was released. I think thats the track which convince me about the power of drums and the emotion you can put in synth. This mix between emotion and fast rythmic made me deeply found in love with the electronic music.

02. Pick It Up by Redman
This track put me always on a good and chill mood. Redman always has the flow and I always felt close to his way of thinking.

03. Si Tu Kiffes Pas by Booba
Booba at its beginning what else should we say?

04. Spacer Woman by Charlie
This track is for me the beginning of the electronic dance music it feels like a robot who’s feeling and talking like a human; the in between of electronic coldness and human feelings.

05. L’Hotel Particulier by Serge Gainsbourg
Used to listen to Serge Gainsbourg since year one, I got the chance to get through all his albums and for me this track makes me discover the power of a perfectly executed synth and all the changes in term of vibe you can bring with only one synth. (2min15)

06. Cheree by Suicide
I think that’s pretty much the track which make me fall in love with all these organic synths and breakable rhythmic.

07. Lagonda by Deepchord
This track is not that old but the work of Deepchord always astonished by its perfect vibe. There is so many thing going on that your brain is like completely travelling across the amount of information delivered by the track.

08. Parade (Dominik Eulberg Remix) by Rone
The first sunrise I had in Berlin was at an open air where Rone was playing; it was one of the first time I cried listening to music. The moment was perfect. Perfect music, Perfect people, perfect vibe everything was aligned to get this perfect moment which will be forever one of my best memories.

09. Computer Interface by Computor Rockers
“Break Beat is the future » – The Chronics 09.08.2019

 


(stream of “Cheree” by Suicide)

 
Already the last question: what’s coming next? On your label? For you personally? Give a glimpse of the near future 😉
I have a couple of digital releases planned before the end of the year and I will have my first vinyl release end of 2019. Regarding the label, we will announce the next vinyl release end of this month.

The digital release of September will be special and I’m pretty sure you’re going enjoy it :).

Moreover, we started a new concept of releases, which will come up 3 to 4 times a year with a special and unique vibe quite different from the original material we usually release.

Regarding events, we are planning the 3 years anniversary of the Label in January 2020. The birthday party will be hold in 2 different cities during the weekend and we are still thinking about the perfect line-up. Stay tuned ❤

 

The Chronics 4
(The Chronics, chilling)

 

Recommendations:
compilation “Formless Vol. 1” w/ The Chronics track on Abstraction
Distant’s “Der Damm, Die Aufpasser & Der Mörder” w/ The Chronics remix on Terra Furia
Irregular Synth’s “Alive EP (The Remixes)” w/ The Chronics remix on Dirty Minds
all featured Bipolar Disorder releases

 

Exclusive Mix:

 

Tracklist of Exclusive Mix:
01. Zaehler – Okerlo
02. Tronus – Ater (Vilix Remix)
03. Opal -Obsidience
04. Netsh- Bot Heart
05. Tronus – Ordos
06. Isolated Lines – Ombres
07. Casual Treatment – Silicate (Splinter Remix)
08. The Chronics – Primitive Reaction
09. Opuswerk – Fractions (Antigone Remix)
10. Chlär – Momentous Sacrilege (Takaaki Itoh Remix)
11. Non Reversible – Ellipsoid (Philippe Petit Remix)
12. MTD – Impulsive Noises (Hertz Collision Remix)
13. Netsh – Layer (Keikari Remix)
14. Opuswerk – Eme
15. Bylly – Confusion
16. Åre:gone – El Cuarto De Las Puertas
17. Hioll – Methodical Way
18. Lars Huismann – High voltage (Gareth Wild Remix)
19. The Chronics – Contemporary Answer (Lars Huismann Remix)
20. Chlär – Occult Authority (Mørbeck Remix)
21. Lars Huisman – Grey Rock
22. Chlär & Apothicaire – Absolute Control
23. Willy Parker – Vehement (Violent Remix)
24. Niclas Erlandsson – Of Color Restrained
25. Non Reversible – Initial Mass Function
26. Mercury 200 – unreleased
27. Mercury 200 – unreleased
28. Niclas Erlandsson – Subdued By Reality (Rune Bagge Remix)
29. Åre:gone – Excessive (The Chronics Remix)
30. Antonio De Angelis – unreleased
31. Apothicaire – Oath

 

Booking:
Urbanum for The Chronics

 

Websites:
The Chronics
Bipolar Disorder