Resolutely Techno in Attitude

C.S.P.N.’s album is out now and it is a journey, that slowly pulls one in and doesn’t let go. We talked to him about it.


What does “Define Reflection Of An Echo” represent for you?

Basically it’s my first long format and really personal!

This project has been much influenced by the current world politics obviously but also past … an influence of sound and Amerindian musical color is here explored by the choice of melodies or rhythms as an echo to past and present history …

Oh thats fascinating! Do you then work minimalistic with sound, as in economically going from one sound and processing it into a track? That’s the feeling I get when listening to it. It’s as if a far away echo appears and comes closer slowly.

I wanted to create a geometric and mathematical aspect by some very slow and repetitive track or even in the construction as in the track: kcik! in which I used only one kick and the rhythm is made only by the reverb of this kick ….

I also notice that some tracks are slower than most techno tracks. Could you tell me more about what tempo means to you in this album?

Oh great question! I simply use low tempo to have more space for storytelling and to keep the music focussed on the mind and not on dancing … anyway you can feel the low beat as a fight against this furious speed of life we are living with no time for the message on music right now.

What does this message encompass for you?

Resolutely techno in attitude, this album is the work of several years and explores several major influences of the genre. From ambient to dub to industrial, I tried to transcribe a feeling deeply hidden in the depths of each of us. This duality between fatalism and hope for the world around us, those lifeless eyes that we meet or those smiles without conviction that we receive! The living reflection of this surreal, unthinking world and the desired echo of a naturally more utopian, necessary world “define reflection of an echo”.

A reflection of an echo?

Yes! I use minimalistic sound and explore it with echochambers and effects, as well as a greenbean box mode by my son with effects that can do more than a synth.

What do the track names mean?

If you reverse all the titles of the tracks you will have all the history of this album… it’s an “allégorie of living” … the hope are children … the last track is nerdlihc isn’t it?


Soundcloud Preview:

Release Dates:

Bandcamp (July 17th 2019):

Released on:

Stay tuned and keep it dark, minimalistic and technologic!






Interviewed by Lisa Teichmann aka Schnuppofsky

Enigmachina and Schnuppofsky about their Collaborative EP Fluid

Fluid is a collaborative EP between Montreal-based ambient producer Lisa Teichmann aka Schnuppofsky and the experimental project of Alban Rumpf aka Enigmachina, who is based in Germany. With 3 tracks, the EP features each a solo piece as introduction and outroduction for the central collaborative composition “Fluid”, in which both artists merged, reworked, arranged their sounds into one stream of textures. Here Alban and Lisa say more about how they worked on the EP and how a collaborative project like Fluid takes shape.


How did this collaboration come together and what is ‘Fluid’ about?

Working together on this release started very spontaneously, also we had no real intention about the outcome or if it should mean anything.

Looking at the release now, you could say that ‘Fluid’ is a channeling of the ongoing change and diversity of patterns that we can experience in life, and also the mergence of those. From feeling at home to out of the comfort zone, there are familiar progressions, artefacts and rhythms… and more often unpredictable happenings, that confront us with something new, which we struggle to connect with at first.

By this absence of a typical build up and structure within the tracks, listeners might be challenged to let themselves go and accept whatever new environment they are thrown into.
So ‘Fluid’ stands for the feeling transported by the tracks, but also the flow of the creative process.
That being said, there is no fixed meaning or point to this music, besides an honest expression of what we felt while creating it.


How did the project take shape?

Actually it didn’t start as an EP, but with the track ‘Fluid’ which is now the middle piece of the release. One day we sent each other some sounds and a simple structure of sounds from instrument and field recordings. 8 hours and many file transfers later our track Fluid had taken shape.

We both really liked the mood of it and as it came towards finish, it just felt right to keep the process going and let this thing evolve further. Fluid contains both our sounds and signature in arrangement. Flow took us into the making of a more calm mood for the introduction, fitting to Lisa’s approach, and vice versa for the Outro. So those two pieces were created working in each of our solo projects. This way, the EP contains a mix of our styles while also providing space for both worlds to be heard on their own.


How would you describe the process of working on a collaborative release?

It was definitely a unique feeling of collaboration, especially considering that we live in different parts of the world. Diving into a very fast and intuitive process of sending the project file back and forth, making parts and adjustments here and there was lots of fun.
An intriguing aspect was that we didn’t discuss any specifics of the production process while creating the track. Opening up the new version was always accompanied a feeling of surprise, like receiving a cryptic message from the other person and adding your next layer of code to it before sending it back. Using sound as a tool for communication was a big part of this work.


Anything else to put out there?

Special thanks go to Colin Lloyd for Trombone recordings used for production, as well as to Daniel for all the work he put into the mastering to make it fulfill our vision! Special thanks go to Kamielle for the wonderful artwork in which we can see our send reflected.

Grateful to have had that experience.
Grateful for a space to share it.


About Enigmachina: Enigmachina is the experimental project of Alban Rumpf. Reaching from Ambient/drones/glitch and trance to high bpm psychedelic core, it could be described as a genre fluid project which merges and dissolves those different influences to explore new and unusual sonic environments. Those are not created for a certain purpose but merely for the sake of their own existence and the process of experimentation within this ongoing arcanum we call life.

Enigmachina is part of Minuteless recordings, where releases will be more of the peculiar and weird kind.

An EP residing in the upper bpm range of the project is soon to be released on ‘Painted Chaos Project‘.


About Schnuppofsky: Schnuppofsky is the (dark) Ambient project of Lisa Teichmann, who is originally from Austria, but currently based in Montreal, Canada.

Her artistic practice consists of playing and recording instruments, then synthesizing these audio tracks into pads and improvising/composing. The recent compositions have been strongly influenced by rare instruments such as overtone harps, which she had the chance to record a private collection of custom made harps this winter in Austria.

Schnuppofsky’s musical compositions, organic sounds merge with thick, dark drones, combining native and classical instruments with field recordings. The emerging soundscapes make audible tensions between the opposing forces in nature: the calm before a storm, the comforting forest sounds juxtaposed to low, rumbling underwater frequencies and the expanded, floating sounds of distant sea- and land creatures’ whistles pervading the human heartbeat.

She has released the single, „Delayed“ and “Underwasser” and has been working with Canadian filmmaker and visual artist Rosalie Bordeleau. In addition she also performs and creates as virgo, a collaborative project with Sammy Halimi and is a host on LoSignal Radio (CKUT 90.3 FM).


Soundcloud Preview:

Release Date:

Bandcamp (May 15, 2019):

Released on:

Stay tuned and keep it dark, minimalistic and technologic!


Eijra Woon – Daëwaë

Which words come to mind about your Daëwaë?

free minded

other worlds











free from thought

free from everything you think you know






field recording



What is a santour?

It’s an instrument. Mine is from Iran

I discovered it when I discovered Sufi music from Persia and fell in love with the sound of this instrument that went straight to my soul.

Would you like to share some of your background with me? Where are you based? What music projects do you have? What do you love doing?

I live in Britany in Rennes, France. I had several electronic music projects by the past ….. autodidact. And now I play music as “Nadleehi” and “Eijra Woon”.

I love walking in Nature…. That’s what I love the most. Being with friends outside in Nature around a fire and the stars above …. Simple things.

Gardening. Watching medicinal plants and legumes growing. Making music. Laughing…. Simple things again…

Beautiful! I can see a connection now to some themes in your music. How do you see your music connected to nature?

Because …. it’s where I free myself from the shitty influence of this fucked up world …. this is where I feel free, protected, it’s our home actually and the disconnection with it makes me fuckin sick…. and this is where I feel more connected to some intuition and potential, and also inspiration for music …. this is very difficult to talk about it …. not very rational …. I’m a pagan in a way …. but I’m tired of these fuckin labels

There’s something about the supernatural , experiences that I had that changed m e forever and open some perspectives on reality that I didn’t expect at all

Do you feel you connect with nature through your music?

Yes… in a way.

How? You mentioned field recordings?

I sampled mostly the sea and the sand on this EP, but Eijra is born in the forest

I’m now working on other things, and I use all the samples that I recorded during a trip in South America: Geiser, wind, sounds of the jungle, birds, etc.

Amazing! I am excited to hear more from you. Thank you for sharing your words and music with us.

Thank you !


Soundcloud Preview:

Release Dates:

Bandcamp (April 5th 2019):

Released on:

Stay tuned and keep it dark, minimalistic and technologic!

Microscopic Electronics or the Cradle of Sound: Listen to s.soo’s Album “Period”

Following the album release of “Unkown” on DMT Records in July 2018, Stas Sursyakov a.k.a. SiSTAL now appears with yet another release of a brand new ambient project called s.soo. Listening to the upcoming album “Period” gives the impression of blindfolded being led into a dark cave, accompanied by humming and drawn to a pulsating core.

Stas, you have two projects, SISTAL which is right between ambient and techno (read about it here) and s.soo, which could be described as deep ambient or microscopic electronics. Could you tell us more about how these two projects emerged and are related?

My project ‘SiSTAL’ existed from the very beginning, from the moment when I connected my life with electronic music. I dreamed of becoming a DJ. I needed a name. I took a piece of paper and a pencil. It ended up – dj sistal. This is project lasted seven years. If you take a picture of a landscape somewhere in the mountains or take a picture of an old village where there is not a single resident. And after many years you will return to the very place, you will see strong changes. This view will be very different from the pictures of past years. So we can observe the period of our life and everything around. My project ‘Sistal’ was the beginning when I was mixing music at parties. And it was a hobby for me. But much has changed and I stopped thinking of it as a hobby. Music has become a prayer for me.

How was s.soo born?

About three years ago, my sound began to change its shape and meaning. I wanted my nickname to complement my sound. A year ago, a new project ‘s.soo’ appeared in my head. And when Samuel offered me to record an album, I realized that this was a start for s.soo

How would you describe the creative process that followed?

Once the poet was asked about how he wrote his poems. He answered this question: ‘’I do not know’’. Then he was asked a second question: ‘’who can know about it?’’. He replied: ‘’God’’.

What does “Period” stand for?

Silently watching the slow and wise change of nature, one can experience the inspiration from everything around. The journey takes place in a natural way. Everything is saturated with the true.

PERIOD – it is a translation of emotions, contrasting feelings that I experienced and divided into separate sentences. These are elements develop in a regular and slow way, connecting in the cradle of sound.

Is there anything else you would like to share with us about this release?

I am grateful to my wife, she was a full-fledged creative partner and I am grateful not only for that, but also for understanding and patience during my long stay in the studio. I am grateful to Samuel Gagnon for the opportunity to record a full-fledged album where sensitivity to the emotional currents penetrating the depths of the whole world develops. And also thank you Kamielle Dalati-Vachon for the creative approach to the selection of the shot for the album cover.

Soundcloud Preview:

Release Dates:

Bandcamp (March 27th 2019):

Released on:

Stay tuned and keep it dark, minimalistic and technologic!






Interviewed by Lisa Teichmann aka Schnuppofsky


OUT NOW! Jonah K. “The Black Sea”

Jonah K., co-founder & resident artist behind Dark Rooms & SUMA, whom I had the pleasure to meet and hear play on the mighty 40 hz Soundsystem, was so kind to talk to us about space, the evolution of genres in his music, and his vision of creating his new album.

What does the “The Black Sea” stand for?

The “The Black Sea” can be interpreted simply as another name for Outer Space. I’ve been thinking about space a lot lately. There are SO many incredible things out there on a scale so much larger than ourselves. It helps lift me up and keep perspective when I start to feel weighed down by the heaviness of human existence.

The title track “KBC Void (The Black Sea)” also refers specifically to an enormous region of space that is nearly empty… the largest known void in the universe… which also happens to contain our own Galaxy. On universal terms, we’re essentially in the middle of nowhere.

Each of the tracks on this album are actually named after things in space that I think are especially cool. Do a wikipedia search on the first portion of the track names if you’d like to find out more.

The mixture and variety of genres really give the album its dynamic and wide range of styles in my opinion. How do you see the evolution of genres in your music and in the bass music scene in general?

Well, I began DJing in the late 90’s and I was mostly drawn to early rave music. Some of my favorite tracks were long, techno-infused journeys by artists like Orbital, Plastikman and The Prodigy. I got into Drum & Bass shortly after that,  but I think the other-worldly elements of those initial influences has always persisted in my sounds.

So why Drum & Bass?

I guess you could say that Drum & Bass eventually won me over by its wild, dark energy. DnB is still my dancefloor music of choice and it’s at the core of most of my music. From a production standpoint, though, I’ve always had a hard time with its density and rigid structure. It relies on a super-strict formula which doesn’t leave a lot of room for experimentation. When Dubstep infiltrated the DnB world, I think many of us were ready for the emptier spaces in it’s framework. The energy wasn’t defined solely by speed and predictability but driven by a huge variety of divergent sonic details… and that gave producers (and dancers) room to play again. The recent resurgence of halftime DnB has allowed for similar sonic space but has brought the energy and speed back up. It’s allowing us to mix the new styles with classic DnB. I think that is what is really exciting about DnB again. The energy is back but it can be much more unpredictable and fluid.

What about other genres?

Ultimately, I don’t see genres in dance music as limitations… only rhythmic framework that helps DJs mix and dance floors to flow. To me, the syncopated rhythms and dynamic range of DnB and Dubstep are far more interesting than the endless march of techno, but the aesthetics and atmospheres of trance and techno are still a huge inspiration. In bass music genres, where styles and flavours change almost month to month, you just can’t be locked into one thing… diversity and adaptability is what makes this fun.
Soundcloud Preview:

Release Dates:

Bandcamp (March 13th 2019):
Beatport (March 29th 2019)


Released on:

Stay tuned and keep it dark, minimalistic and technologic!






Interviewed by Lisa Teichmann aka Schnuppofsky

“Putting things in the line of rhythm”: Cek talked to us about his process in making “Dark Matter Halo”

DMT Records is thrilled to release Cek’s drum and bass EP “Dark Matter Halo”. Its exceptionally clean mix, energizing rhythmical storytelling and comforting dark distant textures inspired us to ask him to tell us more about music genres, structure and rhythm, and how to achieve a clean sound. Cek it out!

Let’s talk about your views on music genres: minimal techno versus drum and bass?

I think they are very similar these days. A lot of drum and bass have that same kind of minimal techno progression in it which i like. The sound is often very clean with well placed elements to keep the listener interested throughout the track. The difference in my process is how I create the drums. Drum and bass for me takes a bit more of an effort in the drums than techno to get them tight but still punchy and make sure that work with the higher tempo.

I especially appreciate your play with textures and sharp drum sounds. How do you relate structure and rhythm to atmospheric elements?

I think of making tunes as “putting things in the line of rhythm”. The atmosphere is treated as a drum in the groove to make every element fill in after each other. I imagine the synth sounds as a drum sample in a drum machine in order to know on which “step” to put it in into the track.

How do you achieve a clean sound? How would you describe your workflow?

I always start with making the main drums and I spend a long time on them to make them sound somewhat good from the beginning so I don’t have to “repair” them later in the mix. When the drums are in shape I put a groovy sub bass on the track which I often layer with another mid-bass synth to make it more audible. I create a short loop and add other elements such as synths, percussions and hi-hats to make sure I also have some depth and crispness. When I feel like I can listen to that same loop over and over again without getting bored I start with the building of the structure of the track. I like my tracks minimal so I add a little bit here and there to make sure something new is always happening. I usually mix a little as I go in the process but the tracks often need some finish work in the end to make everything sit right in the mix and sound good together.

Listen to the preview on Soundcloud:

Release Dates:

Bandcamp (March 6th 2019):
Beatport (March 15th 2019)

Released on:

Stay tuned and keep it dark, minimalistic and technologic!






Interviewed by Lisa Teichmann aka Schnuppofsky


Van Rhijn’s “Gospel of Introspection” is out now on Vinyl!

Hear about how Piet van Rhijn’s album “Gospel of Introspection” calls for total freedom, how art and life in general has inspired him to create the cinematographic ambiance underlying the rhythmic textures of each track, and how the artwork plays into having a mental effect on the listener.

What would you like to share with the listeners about “Gospel of Introspection”?

As an electronic music producer, I hardly gain ideas from electronic music. My ideas come from depression, nocturnal life, surrealistic art, nature and my love for extreme (black) metal. I’m passionately anti-religious and I care a lot about the mental aspect that I try to pass on with my music. I regard my music as really focussed on the mental aspect. All I can say is that I experienced total freedom in making the album, I hope the listener experiences the same freedom interpreting it. Let the album be a soundtrack to our introspective journey in life..!

What inspired you to create this album?

I’m a big fan of foggy or mysterious artwork and concepts in music, as it really gives room for interpretation. I feel that’s why we love music in the first place. It resonates with who you are and how you feel, or it totally doesn’t ! It’s something very personal, everyone can enjoy this in their OWN way. To me making music has always been a very liberating experience.

Also the following movie has been of big importance to me:

I named two tracks on the album after this movie.

How does the album artwork relate to your music?

Kamielle did such an amazing job on this! Her insight and understanding of the concept, and her amazing level of creativity totally blew me off my chair and has become such an important element in the completion of the final product..! I needed something very specific for the album. Right from the start, Kamielle’s work exceeded my expectations by far and I’m forever thankful for that! Also the patience, dedication and trust I’ve been getting from DMT-label boss and amazing friend Samuel Gagnon has meant the world to me and I could not have done this without these 2 wonderful individuals.

Listen to the preview on Soundcloud:

van Rhijn on Soundcloud:

Release Dates:
Bandcamp (February 20, 2019):

Released on:




Stay tuned and keep it dark, minimalistic and technologic!

Interviewed by Lisa Teichmann aka Schnuppofsky

MOREGO talks about his new Downtempo Ambient Album “Solivagant”

MOREGO is a downtempo ambient/ IDM music project founded by Iranian music producer Mohamadreza Govahi (aka Morego Dimmer, Xerxes The Dark, Nyctalllz, Nahan, Blind Owl, Ostanes) in 2009, and is signed to the Canadian label D.M.T. Records. In his early years (2009-2013), MOREGO released a neo-classical and post-rock EP and demo album.
In 2013, MOREGO decided to switch to electronic music, and released a single called “Quasicrystals”. Solivagant is a mainly ambient/IDM album with a hint of chill-out. Mohamadreza is famous for his dark ambient project Xerxes The Dark, and his experimental electronic alias Nyctalllz.

Connected through arches of melodic ambient themes, Solivagant is a journey through dynamic downtempo ambient. Rhythmic patterns give structure by introducing minimal grooves, carried by melancholic neoclassical elements and organic sounds such as voice and piano.

Tell us about your project MOREGO. How was it born and how does it relate to your first project, Xerxes the Dark?

In Summer 2009, I decided to start a new project as some of my previous projects/bands were discontinued (like NaHaN, Blind Owl and Ostanes), and I wanted to experience with more rhythmic and melodic music. At that time, I’ve chosen the name MOREGO, which is derived from my real name for the music project. I started to compose some neo-classical opuses and needed a female vocal to record the vocal lines, but unfortunately couldn’t find a fitting one, so I used some VSTs instead. Then I released a demo in 2011 with the title “Departed Blind Owls”. After a while, I started to compose some ambient and post-rock songs, but due to a lack of budget the quality was not very good and I decided to release the song as another demo album under the title “Seasons of the Wrong Mind” in March 2013.

Xerxes The Dark is influenced by metaphysical phenomenon, alchemy, mystic and scientific issues. It reflects my dark side. But MOREGO is about my life and my personal experiences are the source for the music of MOREGO: dark and gloomy visions, as well as bright and somehow beauty things.

As you stated in earlier interviews, “Solivagant reflects a story behind a revenant man”, whose “favorite hobby is walking alone and thinking.” How do these activities relate to music creation for you?

Well, Solivagant can be translated as wandering (or walking) alone. I must confess that “loneliness” is the feeling that my soul has been experiencing most of the time throughout my life. Solivagant presents the beauties of loneliness and solitude. Being lonely can be very difficult too. My hobby is walking alone and listening to music while I’m thinking. Being alone can help you to focus on things, both negative and positive. Usually for solving a problem I walk and think about it and do some meditations. Most of the time, when I’m not listening to music, musical notes come to my head; rhythms, melodies, beats ect. Even if I forget most of them when I arrive at my destination, I believe that those notes infuse my unconscious mind, so when I’m writing music, they appear as inspiration.

What are some of the challenges you are facing as an experimental music producer in the country you live in and how do they influence your creation process?

I cannot receive my royalties due to paypal laws and sanctions and there is no good market for experimental music in my country. Earning money is important to survive in life and upgrading my studio as well as gear for live performances. Lack of budget forced me to do everything by myself, from photography and graphic design to promotion and press, from mastering to marketing. I spend so much time on music, but I’m not satisfied with the financial results. The worst thing for an independent producer is the lack of money, which can cause long delays for completing a project, because I must stop music production and go to work , save money (that is nearly impossible in our current situation) to buy my desired instruments, gear ect.

There are too many problems and issues here for artists, that I talked about in some of my previous interviews. Also I can’t tell most of the things here and now, but maybe in the future. Lack of budget, sponsorship, supports, respect are the most pressing issues that a producer is facing here. We have no rights here, as an independent artist / producer who performs and makes electronic music. Keeping ourselves motivated is a hard task, when you look back and see you have worked about 13 years, but you haven’t earned almost anything, you feel lonely and blue. But as long as I’m alive, I will live with music, for music and by music.





Listen to the preview on Soundcloud:

Release Dates:

Bandcamp (September 26th, 2018):

Beatport (October 5th 2018)

Released on:




Stay tuned and keep it dark, minimalistic and technologic!

Interviewed by Lisa Teichmann aka Schnuppofsky



“Techno Paranoia” – Salim about his new Album!

With its classical music influences, rupturing breaks and vibrant basslines, “Techno Paranoia” forces a bridge between music genres, dark and light dimensions as well as minimalistic and agitated rhythmic structures. We talked to Salim about what it all means, how he transgresses genre boundaries and how he navigates through the vast universe of sound.

What does the album title “Techno Paranoia” mean?

“Techno Paranoia” is the fear of technology, science, and what the future has to bring. Should we embrace it all or be worried? Will technology continue to help transform mankind or will it be our downfall? Only time will tell. Most of the tracks are statements or questions pertaining to those subjects. For example, in short, “Who Am I?” is about transhumanism and consciousness, “Television” touches on how hypnotized we are as a society by the media, and “Singularity” well, you can just ask Elon Musk or watch The Terminator for that. There are dark elements to the album for sure, but also ambiance and novelty. “Alchemy” and “Hollywood” are great examples of where they kind of leave the technological world behind and enter this metaphysical realm. The album is progressive in nature, shows off competing styles and displays sudden changes at times which is a metaphor of technology trends in our society today.

How do you see your music transgressing genre boundaries and how do you experiment with mixing different styles?

When I create a project I want it to be multi-dimensional but there’s nothing special that I do, I just do what I know. I feel too confined in a genre. Genres get a little vague nowadays so why get stuck in one? It gets too repetitive in style and I feel like a lot of electronic music out there is that way and there’s nothing wrong with that, but I just get bored. It’s like when you’re in school writing an essay but you keep saying the same thing over and over till you hit the required amount of words needed for the assignment. I don’t want the music to be predictable. So I try to bounce around different genres and subgenres in the electronic world in my own way. I put in a lot of research behind a track. It’s the only way I know how to fully express myself when creating audio to represent the subject matter. But honestly… a lot of people don’t care to listen to a song that switches up like that. It’s too chaotic or weird for them. People like predictable, so whatever.

The album displays an exceptional range of sounds, especially rhythmic elements of drums and percussion next to synthesized industrial sounds. How do you describe your approach in production for mixing all these sounds together?

I just go for it. I think just like writing you can sit down and outline your story and figure out where you want to go based on the feeling and intent of your thoughts. All I want to do is successfully translate what I am feeling to mp3.

It’s all about the beat, the heart of it all. It’s about the sequences you can create. I enjoy displaying a range of percussion. Every sound and arrangement has a purpose, a meaning. I don’t try to mix sounds because they seem implausible, I just mix them. Its showcased throughout the album but a good instance of that is in “Triangles” where the drum components were constructed and reconstructed over and over again until I found something fitting. If you focus on the patterns and progressions of your drums they will lead you on the right path.

I would like to thank Kamielle for the beautiful album cover. It really encompasses today’s world we live in with total surveillance and communication. The barbed wire in front gives off this feeling that we’re trapped inside this dystopia. Beautiful work. William Mahfoud with Woodworks Studios really brought out some brilliant dynamics in the mastering process. And this project was truly possible because of the sponsorship of Samuel Gagnon and the D.M.T. Records team.

Thank you Lisa (Schnuppofsky) for your time and this interview!

Listen to the preview on Soundcloud:

Release Dates:

Bandcamp (September 19th, 2018):

Beatport (September 28th, 2018)

Released on:




Stay tuned and keep it dark, minimalistic and technologic!

Interviewed by Lisa Teichmann aka Schnuppofsky


“Making music is to connect the world through the sounds it emits” – MOGO about his EP “Dark Temptation”

Arturo Jiménez Pérez aka. MOGO, is a music composer / independent producer born in 1989 in a small town in Mexico.

At the age of 8, he entered the world of sounds and harmonies when he experienced playing the guitar, influenced by the psychedelic 70’s. The musical freedom expressed by David Gilmour, Roger Waters, Syd Barrett, the mechanical sounds of Kraftwerk to the new era of new Beat and synthesizers, touched his soul and lead the way on his musical journey.

As he discovered electronic tools, he started generating the strange mixture of natural and synthetic, time forging a musical character that is known as Mogo.

“Dark Temptation” is the equivalent of an endless spiral, leading the listener through a labyrinth of bells, pillars of crunchy basslines, and repeating melodic phrases. Those who enter might get lost, walking down similar paths, that always appear slightly different.

What is the image you had in your mind when you created “Dark Temptation”?

I really wanted to create a more aggressive image of my sound, something more attached to techno. Lately I was inclined more towards that line but always trying to keep my soul from losing the connection with what I wanted to give and  to understand with my music. I understand that all artists must evolve and with this EP I could get to the exact mix between where I want to go without losing the path I have already travelled during my career.

What strikes you the most in “Dark Temptation” and the “The Great Mistery” and why?

What really strikes me most about the tracks are the bass and the synthesizers that complement the bass with low frequencies. I love generating that kind of sound textures. Sometimes it’s a bit complicated to get them to have a good relationship but I give a lot of attention to the mixing process.

How do you describe the connection between the natural and the artificial in your music and how did you implement this connection in “Dark Temptation”?

I think it is a theory that I have developed to create my music. I have a very deep connection with American cultures in general and I feel like and am a Mexican native. From day to day I try to implement this worldview in my way of life.

In music I always try to use numbers that have to do with a sacred account in American cultures on 1, 2, 4, 7, 9, 13, 26, 39, 52 … these are numbers that I use very often when I produce to try to bring in different parameters with the aim of getting closer to the sacredness in my music.

I always try to create a connection between the listener and myself through the music I create. Due to the fact that the listener can reach some trance, memory, or any feedback that comes to him when listening to my music, I consider it a finished track, at least in the creative process.

Music is an impressive art. Sound can attack the spirit of people in an amazing way and reach very intimate and sacred parts inside of people. I am always trying to manifest myself musically in the best way to interact with the people.

Listen to the preview on Soundcloud:

Release Dates:

Bandcamp (August 29th 2018)

Beatport (August 7th 2018)

Released on:




Stay tuned and keep it dark, minimalistic and technologic!

Interviewed by Lisa Teichmann aka Schnuppofsky


Out Now! Germán T.P “We Have to Live”

Germán Torres Ponce was born on February 16, 1986 in Rufino (Santa Fe), Argentina. He is a producer/DJ known by his stage name Dj Germán T.P. At the age of 12 years old he began to take private lessons in the school of music of the municipality of Rufino, Santa Fe, where he graduated as a drummer and percussionist. He then continued studying the guitar. At the age of 15, his paths crossed with who was yet to be a close friend from Germany, and who introduced him to electronic music. It was then when he started to learn about and to create using digital media and music production software. Germán soon developed an inexplicable passion for electronic music, while completing his secondary studies. When he moved to the city of Buenos Aires, he started to attend festivals and exploring the city’s underground scenes. He continued to study image and sound design, but returned to Rufino for personal reasons. In 2008, Germán finally arrived to Rosario, Santa Fe, where he settled and began his studies in electronic music production, as well as making his own music.

“We Have to Live” is an ode to minimalism with rhythmic segments, tied together by vocal and melodic bits and pieces, accompanied by bouncy bass grooves. We talked to German T.P about the background story to the album.

What is the time frame in which you created the album?

To create the album it took me about 5 months. I have been working a new job since last year and have had several family events that took me to move to different cities. I was accompanying my grandfather in his last days, and we went walking through many hospitals and rehabilitation centers together.

In my free moments I always continued creating my music, while also pursuing my dreams!

How would you describe this period in your life and how did it influence the production process?

This period is defined by many changes, changes in the city where I was living, different  feelings, and very challenging months in my personal life. It was a very busy period with a lot of work, and with the little free time I had, I dedicated myself to my dreams and worked hard to continue realizing them.

And regarding the process of making music, I always manage how I feel every day, and the creation of my material depends on that. I try out new things all the time. Now I’ve changed my production software and synthesizers to achieve different sounds, that are very innovative for my own taste.

How did your music education and background influence the creation of this album?

Since I am a musician, I like musicality very much and I play several instruments. I like to play with rhythmic basses, trying to make my own groove, accompanied by my various synthesizers and acapellas that I can work with.

What is your favorite instrument that you used for creating the album?

My favorite instrument … I use several synthesizers and record different sounds to use as hi-hats, or as kicks, snares, claps etc. But my favorite instruments are my synthesizers, that open the door to face the tracks exactly how I like them!

Listen to the preview on Soundcloud:


Release Dates:

Bandcamp (July 11th 2018):
Beatport (July 13th 2018):

Released on:

Stay tuned and keep it dark, minimalistic and technologic!



Interviewed by Lisa Teichmann aka Schnuppofsky


“A thin dance vibrating through the doors that have been closed for ages.” – SISTAL about his release “UNKNOWN”

The music producer Stas Sursyakov a.k.a. SiSTAL fills his compositions with musical mystery, which causes the listener to dive into a meditative and hypnotic state. The true thing for him is not what he sees, but what he feels when he observes. And the sharper the feelings, the more desirable it is to express them through music. SiSTAL believes that music can tell more about a person than the person himself/herself and therefore one has the opportunity to see the world through her/his perception.

With atmospheric rhythmic structures and minimalistic sound textures, SISTAL’s album occupies the threshold between ambient and techno. Let’s see what he has to say about it!

In one sentence, how would you describe your album?

A thin dance vibrating through the doors that have been closed for ages.

What was your favourite memory or experience in producing the album?

Every person sooner or later asks himself the question of who am I? I think that our being is an empty vessel. From it you can draw knowledge and skills. All the answers we need are inside us. Jesus spoke to his disciples: if you do not lose yourself, you will not find yourself. He said that we must follow our own emptiness.

If we divide the seed of the fruit from the tree, then we will see emptiness. But from this emptiness grows a tree. There is a void in the center of the seed. The same can be said about people. Emptiness is the unknown for our understanding. But it is an empty vessel through which we can contemplate, enjoy and feel the depth.

Unknown – is a void in which I am dissolved and feeling the totality of my existence.

How do you describe your approach to sound design and minimalism?

The music is everywhere. You can hear it, even when you are in silence. And from all the sounds that are around us, I choose only those that are close to my inner state at the moment of inspiration.

Soundcloud Preview: 

Release Dates:

Bandcamp (July 29th 2018):
Beatport (July 29th 2018):

Released on:

Stay tuned and keep it dark, minimalistic and technologic!


Interviewed by Lisa Teichmann aka Schnuppofsky


Interview with Kill Acid on Space about his release “Vibrations from Space”

Kill Acid on Space was born in Bari, Italy. He begins as a young man to experiment with new sounds to use in his live set and in its productions. Lover of vinyl records and analogue instruments. His style is dominated by techno music with electronic and ambient contrasts. He is always looking for inspiration and innovative ideas to make his music unique.

With his first release on D.M.T. Records, Kill Acid on Space invites the listener to an interstellar journey through atmospheric textures of sound, with bright, clear fragments that form the dark matter of “Vibrations From Space”.

We talked to him about the story, the production process and his future plans for the EP.

What is the story of “Vibrations From Space”?

“Vibrations From Space” comes from my passion for the universe and nature. In this album I tried to represent an interstellar musical journey composed of very deep and environmental sounds. This EP has been composed in a challenging period of my life which is why it has very dark sounds that represent my state of mind in the moment of production.

How would you describe your approach to producing the sounds of this EP?

As stated above, my state of mind at that time helped me to pull up a sophisticated work, with special and magnetic sounds.

The approach I had with the sounds of this album was a mixture of my instruments, like drum machines, synthesizers, and field recordings made by me in nature.

You produce a variety of electronic music genres. How do you think ambient music integrates into other genres such as techno?

I really like to experiment with new music ranging from techno to ambient. These are the two genres I love the most. I always try to fill my techno creations with atmospheric sounds, because they seem more complete that way. Ambient sounds are fundamental to my musical background, from production to live performances.

Do you have upcoming gigs planned, where we can listen to this material live?

I’m working on organizing some summer dates, especially with my new band “The Alchemical Theory”. All updates in this regard will be available in the coming weeks on my social pages. Thanks.

Stay tuned and keep it dark, minimalistic and technologic!

Listen to the preview on Soundcloud:

Release dates:

Bandcamp : Pre Sale : June 6th 2018
Beatport : Pre Sale : June 8th 2018
Bandcamp : Official Release : June 13th
Beatport : Pre Sale : June 15th 2018

Released on:

Interviewed by Lisa Teichmann aka Schnuppofsky