Ae:ther (Q&A)

Welcome to Sixty Magazine, Ae: ther. Where in the world are you right now and can you tell us what is happening in that part of the world regarding Covid-19?

Thanks for having me here. At the moment I am in Berlin and the situation after a bit of initial panic I must say that it is under control and I feel very lucky to be here at, unfortunately not all countries have the same strength as Germany.

Does the situation lend itself to being creative / productive, or not? Are you night-time or daytime person when it comes to making music?

Yes, I think so, it all started obviously when I was very young, my family has always been very rigid in the arts and especially in encouraging children to do something constructive. Fortunately, the music came by itself and the productive and creative moment today is something that comes naturally after years spent in the studio looking for something fresh to create. The inspiration varies, it is not always there but when it comes, it has to be grasped. When the songs arrive it must be written immediately or “hindsight they fade and never return” …a lyric part of Vasco Rossi’s old song.

Your excellent new single (lifted from last year’s album: Me) for Crosstown Rebels is called We’ll Be Together. What does the title signify for you in 2020?

It is certainly very important for people especially in these days to convey in something positive that gives hope for a good omen and a return to hug each other soon. The title was given for another personal reason that I was living a year ago but now, that has taken a key meaning, alone we are worth nothing, alone it is also difficult to work or anything, and therefore the hope is to return soon all together.

pre-order / listen to the full release with remixes by Francesco Mami and Moscoman https://www.beatport.com/release/well-be-together/2931718

https://soundcloud.com/crosstownrebels/aether-well-be-together?in=crosstownrebels/sets/ae-ther-me

Can you talk us through how you produced the title track? Are there any favorite pieces of software / hardware you always like to use?

So all my colleagues and friends laughed at least once reading the absolutely crazy titles that I give to my projects even if I have to say that I have improved now. One day a label manager of a very large label wrote me saying “We really like this piece and we would like to release it. It’s called” Fresh6stes1.2ripresaaudio2.3.4 can you send it etc etc? “
Often the titles are just notes, to write something fast because many times the right title doesn’t come out instantly. For some songs, however, the title comes out on its own because it is as if I already feel that the song is speaking to me and suggesting the title. I don’t have any favorite hardware or software, I always like to experiment. Mostly I have hardware like the Elektron or the sh 101 or the Eurorack that I use often but it depends on the song and on the moment.

What type of speakers do you use to listen to music on?

I am using the Adam 4×4 which is the type of small cone listening, while the 20/20 events which are a more bigger I use for the mix part or to listen records… ..

You have lived in Rome, Berlin and London. I was wondering how you compare those cities as places to call home and to work in (before the virus)?

Each city is different, in each of those I have reached a different workflow with different people and different experiences, even the periods are to be considered because there has been an evolution on myself. at the moment I can consider Berlin home, because it was what I needed, tranquility, relaxation but with the right dose of art and inspiration that is felt in the air and that helps me a lot in the musical and non-musical work flow. In the other cities where I have been I have found very interersting moments and places but mostly more stress and loss of time than anything else, so for now I feel good, I am happy.

https://soundcloud.com/circolocoibizaofficial/circoloco-radio-112-aether

How do you think life, culture and the electronic music scene will alter? Will making a living as an artist change in any way?

Unfortunately yes, something is already changing, and things that seemed normal to us like a hug or a handshake are prohibited, we are in a state of emergency that I think is going too far and the gov is forcing people to stay at home against their will by controlling it, we could consider it a little dictatorial … In music or art in general we would see many more conversations, DJ sets or anything else recurring in streaming and many more videos of amateur DJs sets, maybe even radio shows that you can why not buy online and have your personal party at home and dance alone or with family. It will afflict many artists and musicians and all those who work in the background and in my account till the frontieres will be close. I have already started doing external works and collaborations to be able to earn something more outside of the partyies, probably one day we will get out of this horrible lockdown, and I really don’t like to be negative and i’ve must to be objective and so there will be worst things that await us, the earth is becoming very fragile and will turn against us… ..

https://soundcloud.com/afterlifeofc/aether-he-does-it

Outside of your usual set of influences have you discovered any new artists, writers, musicians etc which have recently caught your attention? Has not being in nightclubs or at festivals resulted in looking for different things to explore?

Yes of course the search is greater because time increases in the studio, I try to listen to vintage stuff, or something completely different that is difficult to find, but I discovered a new artist in particular, it is called ADWER purely this piece “OVERTURE”, let’s see what will happen next….

And finally. Can you tell us about your forthcoming plans for moving forward?

I am working for several ep and some few collaboration, but nothing I can say atm, just stay tuned!

https://www.instagram.com/aether.music

https://www.facebook.com/aethernalmusic

Share

S. R. Krebs Q&A (Her Majesty’s Ship)

SBYour new single Grey Skies EP has just been released and comprises of four tracks numbering in different styles. Can you describe the influences that are behind each of the tracks?

Well, for Grey Skies…..Leo came to me with the blue print of the song and I instantly fell in love and we actually wrote it very quickly. The influence/inspiration was really just me trying not to commit suicide. I mean I was in such a dark place and really needed something hopeful, one golden thread to hang on to. For me when I hear it, the song has this Bruce Springsteen Americana influence that I was brought up with, so it has this nostalgic feel, something that reminded me of home which I desperately needed at the time. A contemporary of mine said how much he loved this song because it was so simple, which is hard to do these days, to just write a beautiful pop song that is heartfelt and completely unpretentious. I had no idea that this is what we did but in retrospect I totally agree.

Talking to Yourself, is a really spécial track for me. I mean, it is funny because I wrote it on the guitar, two chords I think A and G,I don’t even remember, about a person I had not even met yet, sort of a song about a ghost lover, my sweetheart twin, true mirror. Then I put it in the hands of Leo and Mike and they turned it into this glorious monster of an out of this dimension dance track.

Big Shot was written by Mike and I think the sentiment of this song is about how quickly the business we work in can turn on you. One day you are on the top, it is all champagne and gold chains and everybody wants a piece of you, to the complete opposite where suddenly everything you produce as an artist is questionably bad, where you are walking down the street and nobody gives a shit about who you are or that you are an actual person, I mean aside from being an artist and that like everyone else you need to eat, and sleep and pick out great outfit for the day and get on with it and not feel like a complete waste of space. It really is a fuck you to all that, a real cheeky way of saying nope, not gonna play that game.

For losers…..Oh well that song was really influenced by just always feeling like an outsider my whole life, especially in Paris where let’s face it, everyone is so fucking cool, or everyone thinks they are so fucking cool. You know I don’t exactly fit in. I never feel thin enough or rich enough or fashionable enough. So I guess it is about that, and in a weird way it is a love song about two people who are tired of each other and only see the “loser” in the other person where they once saw a winner or champion. It is sort of a desperate cry to get back to a place where they can believe in each other again. Give me black leather tonight is a way of me saying what can I do to save us?

Can you tell us about the making of the video to accompany Grey Skies?

No fucking idea. I woke up one day with this lovely vidéo made by parallell in my email and I was like cool. This is beautiful.

https://www.youtube.com/watch?v=oZwxQVBkUiw

Why did you make the move from America to Paris in 2008, how would you describe the city in 2014?

Oh like every fairy tale, I fell in love. I fell in love with a man and the city. I came here on tour with some friends and never left! I never thought I would end up in a place like Paris. Being from Mississippi, as a young girl I never thought about making a life in another country. New York, yes, California for sure, but living abroad just seemed like too big a dream so….. Just imagine, a girl like me with nothing but a guitar and a few silk dresses all the way from Mississippi! Sometimes I don’t believe it myself. It really is a fairy tale. Where do I begin about Paris? I love it just as much as I did when I arrived, if not more so now. When I came here I really did not know anyone or about the culture or history of the city so I got to expérience it like a newborn. I spent the first three years going to a lot of parties not being known really as a singer, just as so and so’s weird drunk American girlfriend. I basically stayed inside with the curtains drawn watching a lot of movies, creeping around Bellville, playing my guitar and getting stoned. I think Paris is the same as it was when I arrived, the only difference is that I have changed.

You first joined Slove and released the single Flash. How did you join the band and what made you decide on doing this solo project?

I met Leo Hellden at a party one night through a friend. I told him I was a singer and that I was having a show and that he should come. So he came to my little folk show, you know just me and my guitar on stage, and thank god I was not wasted or nervous because he really saw something in me. He said he was working on this project with a friend, Julien Barth (plasir de France) and he thought my voice would be perfect. So just another case of being in the right place and the right time with the right person. And really ,the whole reason there is a solo project is because of Leo. He just felt the world needed to hear more than a guest spot on an album and offered to produce this project. Voila! And that my friend is how the cornbread crumbles!

https://www.youtube.com/watch?v=3ehv3tv_RO4

Can you tell us about your relationship with your record label Her Majesty’s Ship?

Harmonious, organic, and pleasurable.
I am really lucky to work with them. Charlotte and David are the other reason there is a solo project! They have believed in me from the beginning and stayed with me during hard times when I was an impossible person to be around. So,yeah it is cool. They are giving me more than a fair shake.

How would you describe playing your music ‘live’ to people?

The completion of a song for me is being able to perform it live. This is when I feel least alone and most loved, by strangers, friends, and myself so obviously I enjoy performing live as often as possible. It is a brilliant exchange of energy. Suddenly I am a vessel and so many intangible magical things pass through me and I hope I transmutate all that heartache and joy to the audience. If I fail at this then I am in the wrong business.

s2What’s the balance like between the House/Techno clubs in Paris and the live clubs/ bars?

Oh well let’s see, I don’t get out much unless I have a show….So…I am kind of clueless about the techno or bar scene here and really could care less. Is that bad? If you had asked me this a few years ago I could answer in confidence, but now……This question doesn’t have much significance to me, and I feel kind of uncool that I can’t answer it adequately.

Which artists/ musicians are you biggest influences? What is your favourite Gallery in the city?

From the formative teenage years I would say Tori Amos, P J Harvey, The Smiths, Dead Can Dance,This mortal Coil, Pale Saints, Bob Dylan and Joni Mitchell. Who influences me now? Owen Pallett, Lloyd Cole, Yesway. The list is long. As far as art galleries in Paris, Air de Paris is grand, Crève Coeur, Kamel Mennour…….I really admire all these places. Totally fresh, what they are doing.

What are your plans for the future?

Well, I am looking in my crystal ball right now and I see a lot more collaborations with artists I admire, releasing my first full length album, touring America, taking piano lessons and French lessons, getting a personal trainer and maybe a big beautiful shaggy dog named Bosun? Visit my momma on the Gulf of Mexico and drink beer and eat a bucket of fried chicken on the beach?
Sounds good non?

https://www.facebook.com/srkrebsmusic
https://twitter.com/SR_Krebs
https://www.facebook.com/hmsrecords

https://soundcloud.com/her-majestys-ship/sets/hms012-s-r-krebs-she-like-1

Share

Reviews:116

Julian & Der Fux
Hin Und Weg EP
J.hruza Records

JHR614Good to see the confidence of five track’s worth of quality music making the grade on this release. Without You opens with a Talking Heads styled guitar lick and then proceeds to jam undulating electricity all over it. There is something so effortlessly funky about this yet it’s offset by almost melancholy vocals and delicate piano chords which help define this captivating production. Hin Und Weg continues in the similar vein although expands the sense of melody along with brooding synth lines. Magic String plays on the shuffling funkier elements of their style to great effect. Unglaublich is next with almost Yello styled vocals taking centre stage alongside a very dramatic conclusion. With the tougher Durch Die Stille finishing off this first rate EP.

release: March 21

https://www.facebook.com/JulianUndDerFux
http://jhruza.com

https://soundcloud.com/julianundderfux/hin-und-weg-radio-edit

SR Krebs
She Like Remixes
Her Majesty’s Ship

Cover remix S.R. KrebsOriginally released last year Sarah Rebecca Krebs AKA S.R Krebs icy cool vocal gets remixed with three new takes on the song. Beginning with Ewan Pearson’s excellent eighties inspired version which takes its cue from euro-disco and even comes complete with fretless bass sounds. However this doesn’t merely replay the past but adds a very contemporary sheen to the striking vocals. Hiem, then give a much tougher rhythm with attacking basslines and punctuating synths that again works particularly well with the vocal. Moscoman, provides the final mix and again plays with synthesised atmosphere’s to lend it all an epic feel.

release: April 14

 

https://www.facebook.com/srkrebsmusic
https://www.facebook.com/hmsrecords

https://soundcloud.com/her-majestys-ship/sets/hms012-s-r-krebs-she-like-1

Thomas Leyh
Contact
Who We Are

WWA002For the labels’ second release Berlin based DJ/ Producer Thomas Leyh delivers three tracks for your pleasure. Ironically starting with Goodbye which places a yearning, slightly uncomfortable vocal over pulsating stabs and bass. But the real standout happens next with the title tracks’ sumptuous, dark bass and commanding piano coming together in an enticing arrangement. Do It Now ends on a lighter set of notes coupled with a more playful sense of melody that draws you gently into its way of thinking.

release: March 31

https://www.facebook.com/Thomas.Leyh.Musik
http://www.whowearemusic.de/www.whowearemusic.de/Home.html

https://soundcloud.com/whoweare/thomas-leyh-contact-snippet

NTFO & Karmon
Diynamic069
Diynamic

3516-180339_600Great two track release from the always tasty Diynamc imprint, although I’m slightly late with reviewing this, good music always keeps. First off is Metropolis which lives up to its name with all the tension of the city twisted into a dramatic electronic landscape that suitably hints at a classic Kraftwerk synth lines in the process. Next, Composit picks up the pace with tough, brooding bass accompanied by a brutal kick drum and shimmering synthesisers which cumulate in a gorgeous breakdown of the elements. Both tracks are in the region of eight minutes long and both worth every second.

http://www.beatport.com/release/composit-ep/1258545
http://www.diynamic.com/news/detail.php?nw=59&title=Composit%20EP

https://soundcloud.com/diynamic-music/sets/diy_069-ntfo-karmon-composit

Rock It, Don’t Stop It – compiled by Sean P
BBE Records

Sean P’s excellent compilation of the not so obvious from the early days of Hip-Hop/ Rap makes for inspired listening. Plus, you also learn something about the music into the bargain. There was always something more playful and even funkier with this era, but then after all if you’re taking your cues from the likes of Chic and Kraftwerk then it always would be. Consisting of ten tracks which sound like they could only have been recorded between 79 and 83 you get a real feel for this great party-time music. There are a number of standout cuts, though you can’t help but like the boastful Rappin’ Partee Groove by Rappers Rapp Group, the life affirming Cat Claw and the Better Love Crew’s The Golden Rule, and representing the ladies the brilliant latino percussion fuelled Oh, Yeah from the The Jackson Two.

http://www.bbemusic.com/releases/BBE174CDG/Sean%20P%20-%20Rock%20It,%20Don%27t%20Stop%20It#.UzBxk864XTo

Share