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#UR63 – CementO Interview

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#UR63: CementO (Musikpropaganda / Faarikaal)
written by Razeed (Geométrika FM)
translation by David Juárez

I must admit that CementO is an artist who had escaped me.
When V-Obsession told me he would be the next artist on his podcast series’ agenda and would have to write about him, we had to have a phone conversation in which he updated me. He told me that CementO was one of his favourite artists, he talked about how his song “High Alert” does not leave his record bag from the day he received it via the internet and how he believed him to be one of those artists who for various reasons just doesn’t have the recognition they seem to deserve.

Internet, the democratization of production and increasing people making music gives a lot to talk about. It is debatable whether to have so much new music makes it more difficult to find good music or, on the contrary, the democratization of access possibilities to music, either mixing, producing or just looking, have made has lot of artists undiscovered artists from all over the world, with all possible concerns, with the most different stories… those who previously could not have come at all. Each must choose which part of this discussion is placed. I choose the second.

Razeed: When you began to hear electronic music? Which album was the one that made you say “Yeah! this is what I like!”

CementO: On my arrival in Norway (1994) sounded the Goa Trance, Jungle and Hardcore, which at that time were the heavier genres of electronic at that time. But after a while, and knowing the techno by Jeff Mills, struck me Pacou album called “State Of Mind” released by Tresor label.
The album was made by tracks that, I catalogue them as “rare”, something that felt unique, having purity, weight and depth… Outside the idea that the album captivated me the genre of techno, urged me to start the idea of being a DJ, but also gave me ideas to do my own sound.
The EP “System Failure” for Kidnapping Records is based on the long period I had to make something unique, which I first heard on the Pacou album. “System Failure Effect” was the prototype and example of what I wanted to achieve when working ideas after a while and which I am very proud to have been able to release.

R: In your case, what attracts you to be a producer?

C:I knew Kraftwerk and groups like these that everything was decided in a group, but also knew of electronic music producers who decided everything by themselves, and that is exactly what caught my attention; to take time and money to create for myself and not be in a group of people and expect to be heard or have fear of arguing for certain decisions to be taken that way.

R: Define me your sound. How do you see yourself?

C: Fortunately I am always growing. There is much to learn from the production. Each year is given for something new to learn and to see what else I can do.
I do not really have a way to be defined, just try to be as out of the typical I can. Do not try to be mainstream, but I do not see myself catalogued as underground either.
I think my vision will always sound different from what sounded last week. The track I did a week ago, now I will do something that is different… I don’t want to fall into the typical, as everyone knows as techno. Obviously I want to produce what everyone knows as techno, I just do not want to do the same thing over and over again for a full year.
I always want to produce different, attract attention for being different and at the same time make an impact in the sense that if it’s rough, heavily rough, and if it is passive, which delight the ears of the elders, therefore my sound always tries to warn that I can do more of what is already done.

R: Tell me a little about your sound. How did you start working at the time of producing? What method do you use? How do you focus production?

C: I use FruityLoops and can be approached in any way; if I take a melody that catches my attention, I can choose to be the main melody or turn it into a bassline. The percussion varies from balance it may have with the rhythm of the song and how important it will be for the final sound of the track.
The program I use works different for me because I really focused in a different way than others use it and it gives me the freedom to make major cuts in what will be the final product. I have had the patience to be working on some songs up to 10 years (one really took that), but it’s always good to work them for long term so I can have an end result that really gives me satisfaction. This is not at all easy if you’re stuck and don’t know how to finish. It has happened lately in the three years I’ve worked for labels, but taking old stuff where you can end jobs and where the results come out better than I expected.
To dig deeper into what I work, I want to grind tunes, destroy the sound, manipulate so that gives me a different result to which I hope. I use effects where possible, so that what began as simple melody becomes something completely different and unexpected. Moreover it can be said that I still have the mentality of rocker, who has become more industrial.

R: What kind of artist you recommend us to hear?

C: Appoint as I discovered: Swarm Intelligence (Berlin), Joaquin Ruiz (Argentina), Reggy Van Oers (Netherlands) and Adam Kelly (England).
What I always do is listen to new music. What I would recommend is to go into online stores and hear what is new on the same day they release a new list with music and review. There are many times that surprises me the magnitude of good things that have and those that collect to buy later, or buy them on the spot. This is what I recommend to people reading this article; do not hesitate to check and be surprised by new artists and re-check them from time to time, follow through social networks if they take an EP, Album or Single that interests them. A link leads to another link. And people outside the techno scene that would want to name Mitch Murder (Sweden), Sanderson Dear and seal Stasis Recordings (Canada) and Phobium (Norway).

R: We know you’re based in Norway, do you think that being in an area with “little” techno ancestry makes your impact less than it should?

C: No, this is mainly for not living in the capital (Oslo). My residence is Drammen, which is 45 minutes by train from the capital.
I tried to send demos with my mixtapes for 10 years to have some sort of chance to play in the capital, but this has not been met with no response returned.
If the impact is given now is simply because of the Internet. I’m taking in a Norwegian digital label, but have not been given more opportunities to play in the capital recently, which do not miss it either. If you want something to happen, you have to do for yourself, and where I live electronic is not what has the best space. They have done things, but where the house is the minimum most acceptable, even in the smallest clubs.

R: Chile and Norway; two very different places … how are their techno scenes?

C: The Chilean scene is low in terms of techno events, this goes for the idea that people who really want to represent the genre is doing what it can to stand out in the national scene, but is only idea of moving and have the necessary support, which occurs in cases, but that is a tall order. The Chilean scene is quite large in terms of how they can form events, so it is not limited, nor cease to exist resources. The Norwegian scene therefore has excelled in 5 groups in the capital and some in other sectors. the capital is known for being able to bring artists from outside and to have more access to clubs in different parts of the capital. They have been in variety available for parties of long lasting until 6:00 in the morning, which is not common in local festivals and has given with little success.

R: What does each of your sound?

C: The two scenes provide distinctly, but even in the moments where I most enjoy Chile, came to miss Norway, but because it also affects my mood.
Norway gives the serious point where I can talk with people, learn, realize what else can I do to make music. Chile is the idea of “Fiesta”, de-stress, breathe and live a little longer, and that brings me finally to ideas that would never have had before.

R: you think the social situation or lifestyle of a country can influence to a certain musical style is heard?

C: Yes. Where I grew most were anarchists and listen to heavy rock. The metal trash that was developed by the 80’s spoke much for the young at the time, it was heavy, brutal and had letters could discuss any topic that crude era. Being small and live in a country ruled by a dictator gave things so. There were people who tried to be cheerful, therefore the synthpop genre was very busy in the clubs of the time while it was Latin rock, but on the other hand for those who want justice and truth listened to punk, thrash metal and death metal, but most of the songs contained texts about injustice, corrupt politicians, war without real reasons and even anti-religion justified.
The genre of techno at most political idea, because it is something that I saw by the EBM years ago and always interested me explore and which still trying to publicize.
If there is something I love about this is to present my views on certain issues, and music gives me that freedom.

R: What must have one song to another for you to mix?

C: Good Bass, Long ago I care that the track was heavy, but now I realize that what interests me is not what it sounds heavy, but rather it sounds good, and for that I need to hear good bass in every way.
If the kick and bass of the song have a good balance, I’ll buy it and mix … Obviously there is more to what I pay attention to, but bass for me are very important.

R:What offers you the electronic music, They do not offer other musical styles?

C: Being able to reach a group of people who are unknown to the subject of “Techno”. Able to express the kind of music and to manifest it personally and it do its work on the dance floor to anyone who achieves understand or want to enjoy their own way giving curious about the genre of music you are listening.

R:Describe that moment in the DJ booth which you had to breathe deeply twice not to scream from satisfaction.

C: First, the moment of satisfaction always comes when arrive the vinyl’s that I bought and can hear for the first time, when I listen online I got an impression, when I hear on my turntable is there that I become a girl and scream until the clouds part. Second, I always feel that I have not mixed enough, but always great satisfaction for me will be the mix of bass between songs, if I can finish doing it correctly, with the precise music, that always give goosebumps, and I will smile, which do not do much since I’m always serious-faced ass. The other would be the reaction of the public, cries when they hear something they really like without having heard the track before… that always makes me happy.

R: Who are your musical influences?

C: Surgeon, all the time. Pacou was what opened my eyes, but Surgeon’s what always gives me inspiration to keep going, It’s what drives me forward at a time when I’m locked, to give an example the mix I made for “Break Of Dawn” Florian Göttler I could finish by Surgeon. I finished a draft of the remix, but did not feel the impact of what I had done. I took the weekend to check his music and I found that what I had done was not 100% what I wanted, so I went back himself and ended in what is now. By listening to the guy always inspires me and I take a deep doubts. I idolize and follow him from the album “Force + Form” in 1999 by the Tresor label.

R: What is your fetish song today?

C: As said, I feel that I have not mixed much, but if there is a track that always leave me wanting to play it again and again is “Asagaoaudio – Black Widow (Shinya Chiba Remix)” 2010.
I always loved the minimal techno since I heard Pacou (for me that was true minimal techno).
There comes a time that I thought Exium will the new conquerors of the genre, but so far Shinya Chiba remix of “Asagaoaudio” was the best result of what might have been minimal techno now; heavy but with something new to add to the genre.

R: How long do you see yourself fighting for your way of understanding this world?

C: The precise version until the day I die (without knowing the date).
This scene is created by people and that will always be the most fascinating to know and understand. It is always said among men “women are difficult”, but no, we are all different, we are all difficult to understand.
The money, which is the same as saying “power” will be the major influence in changing the attitude of people, so I understand that I come from a poor country and grew up in a situation that just made me see who you really help and who really takes advantage of you. I will always be grateful for Latin culture and European, the two sides of the coin, my experiences with events in Berlin while Tresor was still open in their hometowns, playing raves with hundreds of people at one organize events besides playing in them and really get on European labels EPs and meet new people.
From all this I have only the idea of traveling and meet new people. There are others who believe your knowledge and you’ll see the biggest and most other world. No matter how bad you see the world through the news on television; meet people give you the opportunity to understand the good and true side on where you live and where you visit.
I’m in this because there’s a hidden talent. I do not know if I am, but if my influence can be so large that work the way it worked for me, I am glad, because everything passes from generation to generation and someday people will hear tomorrow Pacou just like I did, or a song of mine and say “this is good quality music.”

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