Interview Bluetech

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MORPHEUS MUSIC INTERVIEW - BLUETECH

15.11.05

Q: With a new album ‘Sines and Singularities’ on the way - what can we expect from Bluetech this time?

This album retains the elements that people have come to expect from Bluetech, but I explore some higher BPM ranges on this album. I've been inspired by a lot of the things that are happening in Tech House and Electro this last year, so I've incorporated some of those elements into my production. A few of the pieces on this album reflect those influences. I'd say in general I'm finding my own production "style" more and more, and that it would be hard to mistake any of these tracks for another artist.

I'm not moving away from downtempo and ambient at all. Quite the opposite actually. Exploring more uptempo textures is almost causing my music to split into two. I think there will be more explicitly dance oriented releases in the future, and exploring this side of my work allows me more freedom to dive into deeper ambient music as well. I expect to be creating more music that is explicitly ambient in nature, like the last tracks on all of my releases.

Q : How would you say the Bluetech sound has developed since Elementary Particles and Prima Materia?

I think it's just become more "Bluetech". There is less of an obvious dub reference and I think more of the digital/idm influences showing up in the music. I think my compositions have become more interesting in their chord structure and harmonic content. This is something that I am constantly trying to improve on. I'd love to be able to write music for symphonies one day, so I am at the very beginning of a steep learning curve in "traditional" music composition.

Q : In a previous interview discussing your composing methods you said “I usually just start playing around with software until something magical happens,” how much do you feel that the software itself directs the end result?

My working method has changed a bit. I tend to approach pieces from a melodic standpoint now. I poke around until I find an interesting/moving melody, or chord progression. Something that moves me emotionally, you know? From there I find the right sound to tell that story, and begin building the structure underneath. Sometimes I start with rhythm and build from the ground up, but I like to have a good idea early on what the actual melodic story is going to be.

Q : Do you have any music making methods that work for you time and again?

Reaktor works for me time and time again. It really is the most essential component of my process. I couldn’t produce without it.

What works about Reaktor for me is that it is so modular. There is a total lack of boundaries and rules about what you can and cannot do. If you need an instrument that has never been created before, Reaktor allows you the freedom to build your own. Its the ultimate sound design tool!

Q : Touring and performing live is obviously a big part of being Bluetech - how has such extensive touring affected your life and music?

Playing for parties and crowds that want to dance has definitely affected my music. I think one of the reasons my tempos are increasing is that it works really well on a dancefloor. I like playing "midtempo" sets, where there is enough bump to make people move, and the emotional and intellectual aspects are still present unlike music that is just geared for the dancefloor. I've been on the road for a really long time this year. At the end of this particular stretch I will have been on the road for 7 mos. It's affected my music in that I haven't had a consistent working space or block of time to devote myself to just creating new music. I think that 2006 will be more about making records for me, and less about touring. Maybe I'll antsy and take a bunch of shows, but in this moment Im feeling like I'd much rather have a studio year.

Q : How do people react to your music at festivals? Any especially gratifying responses?

People always react really well. The most gratifying moment is seeing someone with their eyes closed, and a peaceful contented smile on their face, moving in time to the music. Its in that moment that all of it makes sense, and I remember why I have to make music. It's like pure communication.

Q : How is it to live in Canada and work with a label from far away Israel?

Ah, the wonders of the digital age. The internet has enabled easy communication. Once you learn about the time difference and plan accordingly, there are no issues. The only drawback to working long distance is that we don't get to see each other face to face.

Q : The artwork on your albums has always been something rather special do you get involved much on this side of things?

I do try to get involved as much as possible. I created the cover artwork for Prima Materia, and a really incredible artist named Fthr created the covers for Elementary Particles and the double Prima Materia + Elementary Particles on Aleph Zero. My good friend Sijay at Onbeyond Metamedia has created the artwork for the new one. I'm sure I was way more involved in the design than I should have been on the last one. I think he was ready to kill me there for a moment.

Q : Chill-out and ambient music have really exploded over the last couple of years why do you think that is?

Has it exploded? I don't have so much perspective on this. I've always been into this style of music so don't really know whether its currently popular or not. I do know that more and more people are coming to the shows.

I keep up with a lot of releases in many genres. The last few CD's which really moved me were:

1. Alva Noto + Ruichi Sakamoto - 'Insen'. It's like Erik Satie as interpreted by modern glitchy electronic music. Subtle impressionistic piano pieces and the tiniest of click and percussion bits underneath. The digital processing is so subtle that you may not even notice it until you listen closely. Gorgeous!

2. Marconi Union - 'Distance'. This might be my ambient release of the year. It's on All Saints records, and has some classic Fripp/Eno ambient references to it with the beautiful guitar textures and movements. However, theres a strong bit of Basic Channel/Rhythm 'n Sound minimal dub tradition in there as well. It sounds familiar and completely unique all at once. I was very moved by this release.

3. Deaf Center - "Pale Ravine". Modern classical ambient music which has elements of Max Richter and Murcof. Subtle, evolving, and emotionally rich music. Sounds very electronic and organic at the same time. Very nice.

4. Delia Gonzalez and Gavin Russom - 'The Days of Mars'. Anyone who has a soft spot for big modular sounds from the 70's would do well to pick up this release. 4 tracks that are each over 10 minutes. The are no drums, just these pulsating waves of analog sounds and arppegiations that build and morph . This sounds like it could be music from Cluster or Wendy Carlos, and has a very cosmic science fiction aesthetic. I find myself hypnotized deeper and deeper into the holographic waves of this album. A very classic synth sound, and a surprising record from DFA/Astralwerks.

Q : Left Coast Liquid Vol.1 contained a great remix of your track Oleander by Phutureprimitive any more collaborations on the horizon?

Quite a few collaborations actually. I've done a track with Shulman. I'm also working on a project with Rena Jones who is on Left Coast Liquid as well on a project called String Theories. Theres a few more planned in the coming year, if I have time to work on them!

Q : Apart from the immediate release of ‘Sines and Singularities’ what can we expect from Bluetech in the future?

We are just finishing up a new compilation on Native State Records which should see the light of day in early 2006 which has new music from me on it. I'm also working on a more dance friendly album which be released under the name Evan Marc which should be coming in early 2006 as well. I've got a couple other things brewing, but I think we should let those be a surprise!