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