#UR65 – The Thinker Interview

Written by on June 5, 2015


#UR65: The Thinker (Cicuta / Dark Garden)
Written by Razeed (Geométrika FM)
Translation by David Juárez

To talk about a Netlabel is to talk about compromise, is to talk about research, is to talk about of risk, is to talk about the future, is to talk about love for music.

I met the world of the Netlabel firsthand when making the radio show of new producers on Geometrika FM, one thing led to another and just embarked on a journey that many others had started before (Hemlock, Dark Garden, Doppt Zykkler …) and many others around that time or slightly later.

Projects whose sole purpose is to present the music of those artists who can not reach front-line seals for various reasons but whose sound is worth listening to, mixed and danced to.

Each and every one of the music lovers should not only be aware of what is happening in the world of the  Netlabel, but openly support because many of the things happening there which we will later find in the “commercial” scene , whether artists or audio streams that come in the future. We must stop seeing these projects as something minor, to see them as they really are: the beginning.

In today’s podcast we have The Thinker, one of those artists who has begun to succeed in the Netlabel scene in recent times, the first step has already been given.

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

The Thinker: It all started when I was in the school, I was 10 or 11 years old. I remember it perfectly. My best friend brought to class one day a disc of music, a style whose name I had never heard before. He gave it to me and I was listening to my house for days. It was a compilation of songs of Break-Beat. Since that day I became interested in that style and soon found I was surrounded by it, only that I had not noticed. My most “technological” friends took to the streets with a Walkman and spent the afternoon listening to tapes of the music. Soon I began to tinker with some fairly simple sound editor, but by that time I had no patience, neither the knowledge nor the necessary illusion.

R: What has been your evolutionary process in this electronic dance?

TT: Over the years I’ve been pushing myself more and more of “what we usually hear.” I started with what I had around me, without any style interest in seeking more out there, and today, I’m open to all that music that gets to convey something, but far from commercial. My first productions were Break-Beat; I went on to do Tech and Deep House and Techno currently, although occasionally I avoid these and I like to get out a little electronic dance music, with Ambient and other experimental music.

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

TT: First of all was curiosity. At about age 12, without any knowledge of software or on electronic music, rather than what I heard every day, what most moved me was curiosity and some resentment by getting out the sound which I loved. Of course, at that time did not, and today I am still struggling to get the sound that I like now. I never took it too seriously until about three or four years ago when I decided to study sound and explore and learn as much as possible about this world.

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

TT: My sound has some experimental, some space, some psychedelic … I like to create environments and atmospheres that fluctuate along the track, add effects in second or third place to capture the listener’s attention. In my view I think I’m pretty versatile; I do not like to create two themes that seem in the least. Each track has to tell his story.

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 on production?

TT: Usually it starts with a physical idea; that is, I do not get to make sounds for it, or not most of the time. I usually have clear a story about to make a track. Society inspires me, what I see every day and my other passion besides electronic music; Psychology. I have done many tracks, keeping in mind what I study and what I learn from that world, and more than once while reading about some disorders I have some music ideas come to my head.
I use Ableton Live and several plug-in, but not too many. Narrowing down to one or two you do not need more.

R: What process do you follow when you present yourself to record labels?

TT: I started sending my work to labels not too long ago. Until then I had not dared to let other people hear my music, either out of fear or shame. I am very demanding of myself and a project that I can like today, maybe tomorrow will scrap.
When I decide to work to send my projects to a label, usually always in EP format and need to be a work that tells a story, a process from the first to the last track.

R: What makes you accept a netlabel?

TT: I make music because I like to do it and I like to share it with others, not for money. I always try to find netlabels, Spaniards to send my work first. Moreover, at least with me, they have turned and I have been supported, which I value.

R: How important do you think the Spanish netlabels are for exposing new figures?

TT: Netlabels seem essential in the world of music and artists that help strangers and acquaintances at most to be known or even hold onto the scene. I think his work is of great merit and, in my case, I do not think that projects are lately I have gone out if it were not for the boost they have given me.

R: Do you think it is sufficiently appreciated the work they do?

TT: I think it’s underrated because most people (especially those without musical approach and are driven by the names of major labels), are more inclined to most known labels.

R: What kind of artists do you recommend us to hear?

TT: The list is endless, but interesting artists that I have some time following can be the boys Minimized Music Group, from Seville too, Leandro Gámez, Susfractor, Korridor, R.N.T.S, Hyo, Structural Form, Oscar López Beat, Modular Phaze…

R: You’re not the first from Seville that we interviewed this season in URBANNOISE, what do you think has made the techno become a priority in Seville and Andalusia, an environment in which you yourself tell us that formerly dominated the Breakbeat?

TT: Unfortunately I do not think that is Techno priority in Seville; is more, it sounds very pessimistic, I think, the city has no electronic musical culture too relevant. And not for lack of talent, and there is quite good, but because since I can remember I do not see here succeed all bets have been made to boost electronic music. Not long ago it closed one of the few clubs that were able to accommodate many electronic styles, including techno and underground.
I hope this will change soon; there are several developers who are moving in this area and wish I did not lose hope to extend their view the electronic music for Seville. Music Darksite or Minimized are two examples.

R: Is there still any Breakbeat in your sound, or on your way to understand this world?

TT: Definitely not. The Breakbeat long since ceased to convey something. Not that I’ve stopped listening radically (though I do not hear now, I’ll stick with retro), but not my favorite style today. I sincerely believe that the genre will really hurt the environment with which it was linked (and I assume will remain the same). However, as often happens with many artists, this goes for fashion and a year out of ten producing Breakbeat because “It’s cool” and next year no one knows about them. Or they are doing another style, because “It’s cool”. And most people leave are also guided by the fashions so this is like a circular relationship.

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

TT: It have to tell me and gives me something. Let me go and get lost in the sound. There are songs of eight minutes that I have not realized that it’s over, and other four minutes become monotonous … I always look for the first and only I need to hear it once to know that I need to have it mix it.

R:What does electronic music offer you that other musical styles do not?

TT: I listen to all kinds of music, from classical, experimental and jazz. But when the truth namely electronics and techno is what makes it move me that something special inside. To my understanding, the Techno is not just dancing. It has a cerebral component that makes it doubly attractive.

R:Where you usually have your gigs?

TT: To date I have not been lucky enough to mix what I really like. I do not take too long in the world of techno (at least stride truly serious) and that, combined with how hard it is to make a place here, complicated thing. But I will not tire of it and try and call me for an event, I’ll keep doing and sharing my music.

R: Who are your musical influences?

TT: Almost from the moment I got into this world, the main reference to today has been the same: Oscar Mulero. Perhaps he is referring to many, but his style of music has the components that have the techno that I like: brain while dancing. Then there are other artists I also passionate as Reeko, Lewis Fautzi, Regis, Len Faki, Arnaud Le Texier, Tadeo, Pfirter …

R: What is your fetish song today? and the favourite song of yours?

TT: The first is difficult to answer, because I don’t have one, I have many. But if I had to keep one would think: Regis – Blood Witness. And as for my tracks, I am more satisfied with the last thing I am producing which has not yet seen the light. From what has perhaps come stay with Hypnopaedia, my EP No Turning Back For The Human Race.

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

TT: I do not put expiration date today. I’m young and I’ve only just started, so the desire and enthusiasm spare me. I look forward to learning a lot from this world and contribute my grain of sand, that’s what it is.

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