TVA Q&A

Welcome to Magazine Sixty, Marco Mollo. Let’s start by asking aboutyour tack: Marechiaro which has been included on Alex Niggemann’s AEON 5 Years Compilation (released Dec. 7). Tell us about how your relationship with the label was first established and how you got this particular track signed to the compilation?

In 2016 we sent some demos to Alex and after few months they were released on Soulfooled, since then our collaboration became more frequent and we noticed that our projects were matching quite wellwith Alex musical ideas and his label Aeon. I met Alex for the first time 2 years ago in London, we really have a good friendship now which goes beyond music. It’s always fun whenever I’m with him and the rest of the Aeon team. I was really happy when Alex and Simone (Speaking Minds) asked me to participate with a track to this celebrative compilation and this is when I decided to start working on an intro track.

AEON 5 Years Compilation is out now on AEON

buy: https://www.beatport.com/release/aeon-5-years-compilation/2442532

Can you talk us through how the initial idea for the track was conceived, and then how those ideas were produced as music? Do you have a favourite piece of software/ hardware that you always like to use?

In general I’ve been always passionate about intro tracks, electronic and chillout music. It’s not the first time that Alex uses a TVA track as intro (Balance CD and Lost Tapes Vol.2). “Marechiaro” was created to be a smooth and soft intro track, with few notes and many layers. The instrument I use more often is the Prophet 12 and I try to change drum machines quite frequently, at the moment I’m also enjoying the Analog Rhythm.

What I love about your music is the sense of freedom when it comes tousing different moods and settings to realise your sound. Which artists have most influenced you in achieving this, both within and outside of Dance Music?

I love any kind of moody music, this can be happy or sad but it must have a character. I find very hard to create music or play a dj set without setting a mood. Periodically I discover new techno/electronic artists who can inspire my production style and also bands like The National, the Interpol and of course the Depeche Mode influence me a lot and I always like listening to their music.

I have been listening a lot to your recent podcast 01 and was struckby the blend of House, Techno and Ambience. What are the common elements which attract you most to these genres? And what is the mostimportant thing that music has to contain to resonate with you?

All these genres have an energetic groove and I usually have fun while mixing them creating a sort of journey. Music must be always original and not a copy of a copy of what can be trendy in the musical market, many people play some tracks for a season and then immediately after they change completely their taste…this is not my style! 

Tell us about the photographs which accompany the podcast and how youchoose them to reflect the music playing? Why do you prefer black and white?

I’m an art director and I always worked in advertising. Photography is a big passion, I personally took those pictures around London and I thought it was a good idea to use some of them for my podcast on YouTube. Black and White Stills are my favourite but maybe next time I will also add some colour.

How would you describe the difference between creating music in the studio and DJ’ing live in front of people?

In studio I’m usually more free, when I’m DJ’ing live I try to be myself but I also consider the contest trying to adapt my style.

Do you have a favourite Synth? Do you own one?

I love my Prophet 12 but I also use some ableton max for live instruments and various drum machines, at the moment I’m working with samples as well.

And finally. Tell us about your forthcoming plans for 2019?

Nextyear I will be quite busy because my first daughter is on the way, but I’m working with my brother (le visionnaire) on an album which will hopefully be signed on Aeon, Alex is helping us a lot with this big production. A more techno EP could be another interesting project to release in the next few months.

https://www.facebook.com/tvamusic
https://www.instagram.com/tva_music
https://twitter.com/TVA_music
aeon-audio.com

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Tom Flynn feat. Amp Fiddler – The Future – DIRTYBIRD

A stunning release to polish off the year with. DIRTYBIRD pull out all stops with this resilient, piano led number that is all at once beautifully jazzy, and yet rolling with a tough undercurrent underpinned by Amp Fiddler’s spoken message exonerating the future tense. Excellent, provocative music – the way it always should be. The remix comes from label-head Claude VonStroke who adds extra punch to the production alongside brighter expectations, which accompany the sizzling arrangement of fiery dub effects and infectious rhythms perfectly.

Release: December 21

https://www.facebook.com/Tom.Flynn.Music.Page
https://www.facebook.com/AmpFiddlerMotorCity
https://dirtybirdrecords.com

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Los Cabra – Hayat EP – ZEHN Records

ZEHN’s rising star is set to peak by the year end as this forward-thinking, defiantly funky number gets under way. Los Cabra aka Manuel Sahagun & Christ Burstein twist sassy percussion around a melodic bassline that instantly hooks you into their way of thinking, while atmospheric sequences and flourishes colour the edges of the stereo with mood and passion. A captivating production, Hayat never fails but to determinedly excite. Pepiri Guazu, follows pulsing with Detroit stabs, haunting vocals plus a persuasive sense of reality. And then comes the Pezzner remix. If you read Magazine Sixty you will know the high regard with which we hold the producer and his remix of Pepiri Guazu only demonstrates why. Deep, almost disturbing whirring synth lines are offset by chiming, melodic repetitions that are soon accompanied by the sort of brutal bass which can only cause maximum devastation. But, you really should listen for yourself. LOUD.

Release: December 21

Pre-order/ listen https://www.beatport.com/release/hayat-ep/2447881

https://www.facebook.com/zehnrecords
https://www.instagram.com/zehnrecords

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Lagardere – Wild Child – Vanina Hänin

It’s easy to get excited about this. Primarily because the vocal is so resistant to the cliqued charms of soulfulness. So much so that Wild Child tells its own story as abundant, fiery attitude explodes with devilish charm across tough, infectious synthesized motifs and fevered drum machines. And the craziness only gets really crazy the further you get into it. I get the impression Alan Vega would have approved. The contrasting and first-rate remix comes from a low-slung Daniel Zuur who drives the kick drums and sounds in telling fashion, plus there is also an instrumental version of the original should the voices scare too much.

Release: December 21

https://www.facebook.com/Lagardere-94309668711/
http://shop.vaninahanin.com/index.php

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Eraldo Bernocchi Q&A

Welcome to Magazine Sixty, Your latest album: Like A Fire That Consumes All Before It (RareNoise) provides the soundtrack for a new documentary on the American Artist Cy Twombly, called Cy Dear. Can you tell us about how you got involved in the project and about its origins?

I was contacted last year to compose the soundtrack of this documentary film, the first ever made about the contemporary art giant Cy Twombly. The production company and the director contacted RareNoise Records to ask if I would be interested in working on it. I loved the idea and also because the film is shot and written from a very intimate perspective. It’s biographical but at the same time really intimate – a trip back in time meeting the people he loved most or that were the most important for him and his art.

What does the artist’s work mean to you personally? Do you favourite piece of his work?

Twombly is a giant, one of those figures who is so emotionally charged that anything you look at of his is fantastic. I’ve got my favourites; one of these is the cover of the album. What I like about him is how he transmits strong emotions through his paintings and at the very same time keeps them simple and direct. Twombly is one of those artists whose work you stare at in awe and are mesmerised by. I find him hypnotically entangling.

The album was mainly created through the use of guitar and various effects. Can you give us an idea of how constructed one of the tracks from the album? And about the types of affects you used in that process?

It’s true. I mainly used guitars, treating them in order to achieve what I had in mind. I used a lot of pedals: mostly Strymon or Eventide reverbs and delays. Various types; tape, analog, modulated digital. I created drones and loops with guitar and on top of them I improvised with guitar or piano, often for hours, until I found the theme or the emotion I wanted. At this point I’d start from the beginning and construct the whole track, arranging it at a later stage. It’s a time consuming process but it’s the only one that works 100% with my brain. I need to improvise in order to find the right colours. Improvising is giving me the right emotion I need to carry on composing.

I worked entirely on Ableton Live as DAW. Live has a very handy function that records all midi actions even if you’re not recording, it does it in background.
To me this has been a key point, as I could improvise for ages knowing I could edit all my sessions of piano to edit at a later stage.

For example in “The space between us” I had this piano theme turning in my head. I created the backing drone with guitars, as well as most of the little melodies that you can hear here and there, I then played the theme and started to build a groovy part…so back to the drone, I muted the piano, finished constructing the groove and added the bass. Once I was happy with that I played again the piano improvising on the theme.

I then leave the “finished” track for days – not listening, not working on it. And after a good mental space I go back to it with fresh ears for the final touches.

Would you say that good music is more about Art or Emotion? Or both? What elements make a piece of music particularly special for you?

For me it is mostly about emotion, I crave to feel something when I listen to music. You can be the most skilled player in the world, you could play thousands of notes per second, know every single micro detail of theory, orchestration and whatnot, but in the end if what you play doesn’t transmits feelings I’m not into it. There are loads of people who aren’t interested in this side of thing and more in the technical one. The perfect piece of music for me is a combination of the two, 70% Emotion 30% Art. I want and need to dream, fly, cry, get angry, smash things, destroy speakers when it comes to music. I’m interested in falling, endlessly. As long as the emotions are there that’s for me. It’s not a general rule however, it depends from music genre to music genre.

Do you ever feel that instrumental music misses words? Or does it create more impact to leave that space for the listener’s imagination?

Sometimes it does. I tried my best to replace “possible” singers with piano and guitars. Impact is created by emotions and sound. In the end it doesn’t matter if there’s a voice or not, as long as the sound is wrapping up you and your heart. It’s obvious that having a singer is more direct but there’s been so many great tracks without vocals that it really not does matter on a personal taste level.

What is your favourite guitar? Do you own one?

I have owned many guitars over the years. It’s a fever all guitar players have. You buy and sell guitars searching for that perfect tone that is playing only inside your head. In the end I discovered two that I absolutely love.

A Gibson Les Paul standard from 1981 and a baritone Nude Guitar with aluminium neck.
Baritone guitars became my main tool since 12 years, I love the deepness of sound they have, the suspension of frequencies they create. Nude Guitars are hand made in Italy one by one. They sport an aluminium neck that resonates like a dream and are really versatile and also when I play heavier music. I could never give up to these two guitars, they’re my sound now.

The closing track from the album: Near By Distance is dedicated to Robert Miles. Can you tell us more about that?

Robert and I were friends. We actually got in touch a long time ago, I think it was around 1996.
That track has been the one that I composed for this soundtrack – I mean the piano theme. The rest came when I started to arrange it. The more and more I listened to it, it was distantly reminding me of Robert’s melodies so in the end I thought it would be nice to dedicate it to him. I’d love to play him this song, to know what he thinks, but sadly I can’t. It’s not an homage, just a way of remembering a friend and a great artist.

How long did it take to make the album? Do you ever feel hurried or rushed in creating music, or is it a more naturally evolving thing? And how would you describe your studio’s environment?

The composition stage didn’t take too long, as after about one week I was so emotionally involved that things started to flow.
The arrangement took longer. I’m a a “freak” when it comes to sound and mix. I spend weeks and weeks changing small details, sounds, effects, and inevitably once a mix is done once I listen to it I always find something I’m not happy with. At some point I need to give myself a deadline.
I never felt pressed or pushed on anything. The production and the director left me total freedom to do whatever I was feeling that I wanted to do. My studio is very simple since I left Italy and moved to London. I was forced to shrink my environment. It’s a normal room with a Mac, subwoofer, speakers, loads of pedals and synths here and there. Boxes of effects, small noise machines, guitars etc etc. nothing fancy. It’s more a mad scientist’s laboratory than a studio. When I need to record acoustic instruments I use external studios.

And finally. Can you tell about any forthcoming plans for promoting the soundtrack and what you have in store for 2019?

I’m starting to think how to bring on stage this album. 2019 is going to be quite busy. There’s a new Blackwood EP coming out – the third Equations of Eternity chapter with Bill Laswell, a duo with bass clarinet wizard Gareth Davis, one with Markus Reuter from Stickmen, one with Japanese electronic artist Ken Ikeda and one with electronic wonder Nadia Struiwich, soundtracks, music for adverts and the beginning of some projects that will be disclosed at the right time.

http://www.eraldobernocchi.com

https://www.rarenoiserecords.com

https://eraldobernocchi.bandcamp.com/album/like-a-fire-that-consumes-all-before-it?

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Guido Schneider & Daniel Dreier – Liquid Summer EP – Opulence

Love this. Right from the moment the beats hit you know you’re in for a good time. Liquid Summer contains the sort of uber funkiness that you can’t help but move too. Its rolling, effortless grooves come primed with all sorts of atmosphere delights expanding across some ten minutes of mysterious temptation. Remixes come from an excellent Martin Buttrich who adds a darker mood to the equation with a grainy intensity, while reworking it all up on an equally great Sub Fire Dub. Second track, Behind The Curtain sequences an elastic grooviness that again sets the pulses racing with expectations. This time the drums are much tighter allowing space for an ambience that creates intrigue all the way down. Ostrich creates another first rate remix feeling moodier, exploring a startling array of sounds which are never less that totally compelling. Brilliant.

Release: December 16

https://www.facebook.com/guidoschneiderofficial
https://www.facebook.com/Daniel-Dreier-120928241259293

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Engyn – Jesus Pose – UNREEL

A brilliant, imaginatively precise piece of music from Engyn. Supplying the sort of caustic, grainy electronics that really espouse the word Soul for the 21st century this is a challenging, brutal yet brilliant sound which teases and tears at the edges of melody transporting you to wherever/ wherever. It’s accompanied by an excellent remix care of John Tejada who injects extra bass into the arrangement while channelling the pure, resilient, haunting essence of the original. Mirror Pyramid then twists a crazier sense of sound around undulating synthesizers and chugging bass to complete this stunning release.

Release: December 14

https://www.facebook.com/EngynOutcastOddity
https://unreel-records.com

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No Else – Ground Bwoys EP – Lemon-Aid

No Else aka Gábor Szeles works up a feverish intent with both of these new numbers for Dennis Cruz’s Lemon-Aid imprint. And once again they deliver plenty of attitude when it comes to sheer intensity. Opening with the heavy-duty funk of RockaRolla and its lippy Hip Hop voice announcing the title it’s all then down to the swinging, smoky groves which prove to be irresistibly frisky plus the heady rush of accompying sound. The even more direct Ground Bwoys follows with more of that same attitude driving the vocal, and the drums, on this just as fiery track.

https://www.facebook.com/noelsemusic
http://www.lemon-aidmusic.com

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VONDA7 – Wide Awake EP – W&O Street Tracks

Almost saving the best till last W&O let VONDA7’s killer statement of intent complete December’s festivities in all sorts of tempting ways. Up-tempo beats push this captivating production forward as hints of melody only enhance the experience, while the artists own voice delivers the message you need to hear. There’s something altogether urgent about it all which of course only adds to the anticipation, but that aside this is a distinctive, forming its own unique space, sort of release and as such deserves every praise. A Satisfying Choice, follows with twisted synth lines working their way around punchy drum machines amid suggestive voices, leaving the title track to reimagine a slice of 1980’s sleaze that hits hard and heavy with deep bass plus repeating electronic motifs creating dangerously compelling moods.

Release: December 14

https://www.facebook.com/vonda7music
https://www.facebook.com/WOStreetTracks

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Re.You – Lifting Me EP – connected

Another label to complete the year with further highs sees the brilliant Re.You supply connected with innovative, forward pushing ideas which cumulate into the stunning Lifting Me. Driven by tough, vigorous percussion and moody intonations – both vocal and synthesised – this feels certainly typically special. Next, Calisi revisits Chicago as hot basslines along with caustic keys rework the concept in truly funky directions, while more percussion is heaped upon the closing Calisi with excitable electronic sequences hotly contesting the spaces in-between. Looking forward to 2019.

Release: December 14

http://www.reyou-music.com

https://connected.co.com

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