“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:

https://soundcloud.com/d-m-t-records/dmtc071-soon-to-be-announced-artist-techno-paranoia-lp-preview-mix

Release Dates:

Bandcamp (September 19th, 2018): https://dmtrecords.bandcamp.com/album/techno-paranoia

Beatport (September 28th, 2018)

Released on: https://dmtrecords.bandcamp.com

 

 

 

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: https://soundcloud.com/d-m-t-records/dmtc061-german-tp-we-have-to-live-preview-mix

 

Release Dates:

Bandcamp (July 11th 2018): https://dmtrecords.bandcamp.com/album/we-have-to-live
Beatport (July 13th 2018): https://www.beatport.com/release/we-have-to-live/2336527

Released on: https://dmtrecords.bandcamp.com

Stay tuned and keep it dark, minimalistic and technologic!

 

 

Interviewed by Lisa Teichmann aka Schnuppofsky