MINIMALMAG Minimal Magazine - art, design, music Sat, 08 Aug 2020 10:38:57 +0000 en-US hourly 1 MINIMALMAG 32 32 Cheryl Rose Rudd Sat, 08 Aug 2020 08:42:04 +0000 Cheryl Rose Rudd Read More »


Cheryl Rose Rudd

Cheryl Rose Rudd transforms the collages into stories that tell the secrets of the psyche. Her spirit is in direct contact with a metaphysical world, where everything is allowed.

Enjoy the personal range of avant-garde imagery mix of the very prolific English artist.

EARS OPEN Cheryl Rose Rudd

Tell us briefly about you, what’s your background?

Originally, I grew up in the UK, but I’ve been living outside of the UK for 7+ years now. 

During my time overseas, I spent 4 years in Berlin, Germany, where I discovered my creative side.

Currently, I’m living in Puglia, Italy, where I helped co-founded a creative collective called Dunae. 

The collective organises events based around music and arts, highlighting the importance of music and arts in
our lives.

What is the mood that makes you more creative?

Honestly, I use creativity as a way to squeeze out thoughts, emotions or experiences that are maybe created internally or external perspectives that have impacted me, It’s my way of making sense of modern-day mayhem. 

So, any mood is a possibility to be more creative, even the bad can be channelled through creativity.

Collage is the style you use most, how do you choose the perfect combination of elements?

My method in choosing the combination of elements is often not logical, I hardly ever start a piece with a clear idea of how I want to see it finished.


Cheryl Rose Rudd

3 emotion to describe your works?

Perplexion, rebellion, déjà vu.

What does your workspace look like?

My studio is basically a desk, in terms of space that’s all I need, however, it’s full of plants, various types of scissors and blades and an unfathomable amount of books and magazines. 

I share my workspace with a music producer and another artist who works with ceramics, so there is always a constant flow of creativity.

What makes you decide an artwork is finally finished?

It’s tough to decide when an artwork is finished because I could spend hours trying different images and moving the fragments around.

What is the best personal advice you can share in order to be more creative?

Personally, I try not to force creativity, when it’s forced and maybe doesn’t go to plan you’ll just be left frustrated, so go with your instincts. Let the creativity come to you.

HEATPUMP Cheryl Rose Rudd

Cheryl Rose Rudd

What is your daily routine when working?

First, before any kind of work, coffee! 

I take my time to get into the right headspace, then, comes the daily to-do list, I try to follow it throughout the day to keep me on track and I allow myself breaks, to regroup my creativity.

Do you have a favourite photograph / artwork / music, which inspires you?

I unquestionably get inspiration from more or less anywhere, however, music is my unwavering source of inspiration, I find it difficult to work without it. 

I mainly listen to the genre triphop or breakbeat, such as Dj Food and Coldcut, music is important whilst creating because it provides me with that extra push of creativity.

What is the artwork of yours that represents you most?

It’s quite difficult to choose one singular artwork that represents me because every artwork I’ve created carries a fragment of myself.


Cheryl Rose Rudd

Cheryl Rose Rudd

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Transistorcake Sun, 26 Jul 2020 07:21:12 +0000 Transistorcake Read More »


Transistorcake - Interview

How did you get into djing and when did you decide to start making music?

Actually, it went the other way around for me. I’ve been making music since forever and I only started Djing a few years ago. Although I really enjoy Djing, creating and recording music has always been more my thing.

What / who influences you the most when making music?

I find that a difficult question because I never really think about it actually… I just follow my intuition and mood of the moment when I’m making music…

Now that I try to analyze, I often find the instruments themselves inspiring. 

That’s why I also find it important for a synthesizer or piece of gear to look nice because, just like it’s sound characteristics, the esthetics can really trigger you and inspire you. I like to play my creations to friends, but usually in a later stage. 

If you’ve been tweaking a track for weeks and then play it to people who have never heard the track before, they will always point out interesting things and it gives you a whole new perspective.

Transistorcake - SoundCloud

You are from Belgium, a country that has played a big part in the electronic music scene. What is the scene like there nowadays?

For electronic music there’s a lot going on on Deewee, the Soulwax record label and studio (Charlotte Adigery, Asa Moto…). 

Stuff, Beraadgeslagen and Shht are doing amazing things on the more experimental side. 

I’d say Belgium has a very diverse music scene, hiphop is pretty big at the moment and some great pop records are made here too.

What is your routine when creating a new track?

I start by dumping my phone somewhere in the house, so nobody can interrupt me and then I’ll build a little setup with my favourite pieces of gear of the moment and make sure everything can be recorded at any time.

Coffee or lemonade does the rest.

What key pieces of gear/software are you using to define your sound right now?

I use a lot of hardware gear, mainly analog stuff but also a few digital synths and drummachines.

I love hands-on hardware, it gives you the freedom to be impulsive, although for mixing and final tweaking I prefer software for the biggest part.

I also love playing with acoustic recordings in electronic music, I often record drums and percussion rather than programming.

What is the enemy of creativity in your opinion?

All the random stuff that interupts you during a day. 

There’s always a variety of sudden “urgent” things to do, and sometimes it can be difficult to say no to that. 

But it’s important to really watch over it and give yourself the freedom to ignore certain things for a little while.

What do you enjoy the most besides music?

Movienights, fries, the combo of espresso and sparkling water, and dark chocolate.
I also love experimenting with electronics and repairing stuff. And cooking.

What would be the setting time and place for the perfect gig?

Evening, open air, not too many people, no stage and a fantastic sound system. About 24 degrees Celcius.


Can you tell us about your Cocktail EP? How did you come up with the concept?

I’m not very much of a cocktail drinker myself, I was mainly triggered to do something cocktail themed because of pictures from beautiful cocktails that I came across. 

I love how these drinks can be real pieces of art and I wanted to create a soundtrack for a sweaty cocktail party with a great atmosphere where only the most beautiful cocktails were served. 

I almost saw it like a movie in front of me while making the songs.

Any plans for the upcoming months?

We have some exciting things planned, yes. Next week we’ll play our first concert since lockdown. 

I’m also finishing new music at this very moment and we’ll be preparing a new live set for the end of the year.

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Droughtwerk Thu, 09 Jul 2020 09:26:27 +0000 Droughtwerk Read More »



Droughtwerk: which color would you choose to describe your music and how would you call your sound with an emotion?
Grey and joy.
What influences you when you make music?
My studio and maybe the night before in Berghain.
What music do you listen to when at home?
I have to listen to my girlfriend’s music. 😀
What is the best personal advice you can share in order to be more creative?
Buy a synthesizer. 
Do you believe today music is still a musician affair, or what we should be ready to see in the next future? 
Yes, of course, I hope so. I saw some paintings created from computers, if I imaging if the same programs will do music it would sound terrible. You need a soul to do music.
What is the element you wouldn’t ever change in your music for anything in the world?
My modular system. It makes things excited, spontaneous, and unexpected.

Droughtwerk - DJ Producer

Music and technology – What is the perfect balance between the two? How much technology influences your choices as a music producer, giving the tools to express yourself and your style freely?

For techno, you definitely need both. The technology makes the sound first and brings the surprising unexpected, and then you need someone who packs everything together. 

Preferably with a plan of how it should work later in a club.

Which are in your opinion the pro and contra of the music industry nowadays?
There will be always a pro and contra. I’m trying not to think about it too much. 

The music scene has always been very creative and will not be destroyed by too many bad influences, like maybe too hyped superstars or overrated festivals.

Rather they will reinvent themselves. Maybe there is one thing that gets too much attention. This social media madness could slowly wear off.

Droughtwerk - SoundCloud:

Considering now the particular moment we are living, what are your thought about the near future of the music? 
It’s hard to say. First of all, I hope most of the clubs will survive the corona crisis.

I think the government could have done more for them. It is also difficult to say how many DJs will survive.

If there are fewer clubs in the end and the agencies are already hot for the big names, the scene will withdraw more into the illegal underground raves.
But in any case, it will exist.
 Could you please tell us more about your upcoming release Nerding?
Nerding was really fun. There I was in a flow. The first ep Exit Burdock took a lot longer to sound the way I want it to.
For Nerding I bought two or three new things for the studio to improve the sound.
I think it sounds a little fresher than the first one. But I’m in love with both for sure.
Shoutout to my man xlr1507 at this point he is always there to answer my silly questions. He helped a lot and we started the project together.
This is also the reason why he always appears in the background of most photos.  
Any plans for the upcoming months?
Hope I’m ready in October with the DWK003.
"From dub techno to deep melodic sounds mixed with percussive grooves, but always staying timeless"



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Emotional Ty Thu, 02 Jul 2020 10:07:21 +0000 Emotional Ty Read More »


Emotional Ty - Interview with MinimalMag

Which color would you choose to describe your music and how would you call your sound with an emotion?

A faded mixture between Magenta, Erika and Orchid Pink (Shout out to MTN Colors) Emotion wise all tracks I do have their own sound most of the time, so sometimes I’d describe my music as happy, sometimes melancholic, other times sad but for most part just vibey.

3 words to describe your music?

Pretty Damn Good. Haha, all jokes aside I couldn’t possibly describe any music with only 3 words, let alone the stuff I do myself. I like to analyze music to the core whenever anyone is up for it.

What is your routine when creating a new track?

Sit down with the drummachine and create a good kick to build the track around, which can take a while as I really enjoy shaping kickdrums. After that it’s either on to a bassline, some chords or a pad. 

More often than not the bassline is what gets to decide what kind of track it will be and the arrangement is done right away. After getting some melodies down I add hats, snares, percs and what not. 

Mixing is done along the way, but the final mixdown can obviously take days.

Music and technology – What is the perfect balance between the two? How much technology influences your choices as a music producer, giving the tools to express yourself and your style freely?

As it’s electronic dance music we’re talking about here, technology plays quite a big part for me, but in general it’s not crucial. You can make some nasty beats using a field recorder and whatever free online software you can find for example. 

If you are a creative person wanting to produce, release and express yourself balance is in my belief found when you don’t let technology get in the way of actually creating music. 

Again, for me it’s pretty important to be able to use certain gear to get the sound I want, so a fair amount of technology does definitely influence my choices.


Emotional Ty
Emotional Ty

What is the best personal advice you can share in order to be more creative?

3 scenarios: If you are ever stuck in a writers block, don’t be like me and freak out thinking that you’ve lost your ability to make music and will never produce anything ever again. 

Instead, just do something else and eventually inspiration will come back when you least expect it. 

If you feel like producing but don’t have the energy to go into the studio, simply do something music related, like listen to tracks with the sound you’re aiming for, watch some nice producer features on YouTube or just kick back with a mix in the background while you scroll through the Instagram feed of your favorite artist. When I do either one of these things when feeling uninspired I always get up and get to it in the end.

If you are in the studio ready to make a hit but just need to be a little bit more creative, just have yourself a big ass cup of coffee and wait it out for about half an hour. I assure you that magic will happen.

What is the situation where you’ve always dreamed of playing?

I wanna play everywhere when Corona times are nothing but a bad memory, so currently dreaming of just being able to actually perform again. There are a lot of cool locations where it would be fun to play for a super receptive crowd at some point.

Emotional Ty - SoundCloud

Which are in your opinion the pro and contra of the music industry nowadays?

Pros are probably that there are many ways to get your music heard, like through all the various streaming platforms and millions(literally!) of hungry record labels out there. 

Which is also part of the cons as a lot of releases are drowning in the ocean of new stuff popping up every week. 

It’s a ”take-the-bad-with-the-good”-kind of situation in my opinion. 

Self releasing on vinyl has been a major tool for me through the years.

Considering now the particular moment we are living, what are your thought about the near future of the music?

This situation will be over sooner or later. The surviving venues will re-open and new ones will be born, festivals will take place again and rest assured that this pandemic will bring A LOT of new music out into the light.

What I think and hope will happen is that the industry will go into next year with a whole bunch of new lessons learned from 2020 and it will most likely strengthen the community since we have all been affected in one way or another and come out of it with a mutual understanding of one anothers situation.

Could you please tell us more about your lastest release Roses & Aliens?

It certainly made me find my way back to the softer and more melodic side of things.

The last track, Edge Of The Horizon, actually came out of a hardcore writers block a while after the first 3 were made during a one week session.

They were the kind of tracks that just write themselves. For the A-side I never even thought of not releasing Mountains & Rivers and Dream Journal together.

It was obvious the whole time. The inital idea for the B-side was that it was supposed to sound completely different than side A to get a two-in-one kind of experience, so there was another track to go with Edge Of The Horizon, but in the end Body Meridian was the perfect bridge over to the finale and there are now new plans for the other one.

To be honest I’m really proud of this release and it’s so great to finally get to present it.

Any plans for the upcoming months?

Just continue working on new material for 2021 (hopefully sooner), both collabs with friends as well as my own stuff.

Got a lot of new music in the making that I’m very excited to share when the time comes.

There will also be a free digital release available on my Bandcamp soon, consisting of tracks made late last year. Straight up house music.

Emotional Ty
Emotional Ty

Emotional Ty - Interview for MinimalMag

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Gioal DJ Producer Sat, 27 Jun 2020 08:28:30 +0000 Gioal DJ Producer Read More »


Gioal - DJ Producer

Gioal: What is your preferred tool to work within the studio?

At the moment I’m regularly using the Vermona launch filter, I love the random possibilities that you can reach every time you use it, It’s very versatile and at the moment vital in my productions.

I do use the mic to record instruments, voices or simply soundscapes, which I blend into my productions.

Is there a music producer working in the industry today that has inspired you the most?

Absolutely, Jichael Mackson is a producer from South of Germany, his productions have taught me a lot, especially to help me to discover and go deep in the realm of minimal music.

Gioal Dj Producer

A blender of atmospheres with roots deep into jazz and Blues Gioal finds his balance in Minimal and House. Being a musicians him self he tries as much to keep the “human” touch in his productions, gaining the support of Francesca Lombardo in his most recent releases.

Gioal - DJ Producer

How did you start producing and what gave you the motivation to stay with it?

I started producing music when I was quite young, I started playing the trumpet at first and finally got into making music electronically, which began in the genre of downtempo.

From a young age, I grew up close to an Indian Ashram based in Puglia, I think that regularly being around Indian music played in ceremonies has imprinted on how I produce rhythms, warm and tribal.

After many years I decided to study music production at Dbs University in Berlin, which due to it’s free environment gave me the possibility to experiment with different genres and broaden my taste in music.

Gioal DJ Set

Is there a hidden meaning behind the music you produce? If so what are you trying to transmit to the listener?

I don’t think there are proper hidden meanings in my productions, for me the combination of sound and movement already holds plenty of meaning. My main purpose is to produce/play music that connects and stimulates those listening.

What are you doing at the moment in and out of the studio?

In the studio at the moment, I’m testing out some new machines to enhance my productions, I’m constantly looking for new sounds to create new vibes, mixing melodies and rhythms together to build texture in my tracks.

Whereas, outside of the studio, I am one of the co-founders of a creative collective called Dunae based in Puglia, IT.

Dunae collective is a creator of events that blend music, art and performance into a fully immersive experience, one of my main roles within the collective is primarily public relations and coordinating the music aspect of the events.

How do you recharge your creative batteries?

I wish there were a standard way to recharge creativity, but frankly most of the time I take a break from the music process and focus on other things and after the inspiration reappears by itself.

I find a pause is necessary so that once I reopen a project or start a new one I have the mental space to be creative.

Gioal - DJ Producer

Gioal - Social Media Links:

Gioal - DJ Producer

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Tridact Sat, 20 Jun 2020 06:42:27 +0000 Tridact Read More »


Tridact, what drew you to making music?

I’ve loved music and played various instruments since I was a child. It’s hard to explain why sounds make us feel a certain way or amplify the feelings we’re experiencing. It’s magic really.

Which color would you choose to describe your music and how would you call your sound with an emotion?

My music is not gray, nor is it fluorescent. It is colorful though, and slightly garish. Maybe turquoise. Emotionally the music plays on the extremes of joyful bliss and nostalgic melancholia. Moody.

What / who influences you the most when making music?

All the music I’ve ever enjoyed has probably had some impact. Genres outside of electronic and dance music often are inspiring for creativity. Aside from music there’s nature, the seasons, my own moods, memories and daydreaming.

I like the concepts of transcendence and euphoria, and the utopian dream that comes from rave culture.

Tridact - Teleskopik

What is your routine when creating a new track?

It varies but most of the time I start with chords. Chords give a direction for the song – how it might unfold or what unique turns it might take. To me chords also convey the most emotion. 

Different notes interact with each other harmoniously or with dissonance and elicit distinct feelings. But my process can also start with something as simple as a quirk from a synthesizer or a particular function of a drum machine.

What’s the most impressive piece of art you’ve experienced recently?

Before the pandemic I went to Barcelona for the first time. At MACBA there was an installation by Christian Marclay.  It was four screens, each with different snippets of film and sound. 

It was a cacophony of noise and images, but there was a rhythm to it all that coalesced into a strange dynamism. At some points it was unnerving, but also very humorous. 

It was a great study of sight and sound.

You are from Portland, Oregon. What is the electronic music scene like there?

I have family roots in Portland, however I grew up in Santa Barbara, California and now live in the Rogue Valley in Southern Oregon – four hours south of Portland. 

My experiences in the music scene there range from going to large shows in theaters by touring artists, mid-sized dance clubs and illegal warehouse parties. I once even played a live set after hours at an Ethiopian restaurant. 

That being said, I haven’t been submerged in Portland’s scene lately, and others could describe it with more authority than I can.



How do you see the future in music given the covid19 situation?

There will be negative effects to the livelihoods of musicians, DJs, clubs and promoters. However I am optimistic that positive change and creativity can come from adversity. 

We can definitely expect a tidal wave of new releases soon, since everyone is at home recording tracks.

Can you tell us about your upcoming album Unknown Planes?

The rhythms are mainly four on the floor dance rhythms, but the songs vary in tempo and style. The sounds all come from hardware, old and new. 

Synthesizers, drum machines – analog and digital – and also sampling and some live instrumentation. The album will be released digitally and on cassette. 

I like physical releases, and the cassette design is very retro and nostalgic to me. This will be the first release on my own label Raydiata Music.

How did the visual and title for Unknown Planes come about?

The cover photo was taken by my long time friend, Mark Regester, who is a photographer and visual artist in Saint Louis. To me the photo represents mystery. 

You can’t see where the horseman is or where he’s going. It’s unknown. I can’t remember if I had the title before or after I saw the photo. I like playing with words that have multiple meanings. 

Planes can be geometric, metaphysical, or artistic, which leaves room for interpretation.

Any plans for the upcoming months?

In the States I believe the pandemic will continue longer than a few months. I hope to be productive in the studio, spend time with my family and still get outside into nature. 

We’re lucky that we haven’t been hit hard with the virus where I live. But being on the highway connecting Portland to Sacramento, California  leaves us prone to the virus. 

When it’s all over, I look forward to traveling again, being social with friends and hopefully pursuing some new adventures.


Tridact - SoundCloud


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Konnektivitat Fri, 19 Jun 2020 20:25:58 +0000 Konnektivitat Read More »


Konnektivitat, tell us about what drew you to studying sound design and music production?

Since I was very young I’ve always been addicted to music, so when I was 16 I started to play keyboards and sing in various local rock / metal bands. 

After the bad car accident, I had in 2011 where I lost my best friend and got many years of illness I found myself alone in dark places, with hallucinations caused by trauma and the meaning of life. 

Then I decided to expand my knowledge about music production and film soundtrack composing. I wanted to do it all by myself without needing the help of a band to coordinate.

What / who influences you the most when making music?

This question is not so easy to answer. My whole life I’ve been a passionate record collector. So far, I’ve owned something like 7,000 records in all musical genres. I always need to change my influences but I don’t think I have particular ones as I take everything as a deep conscious emotional state.


Konnektivitat - Dj Producer

What is your routine when creating a new track?

I am always changing my routine intentionally to free myself of habits. Anyway, most of the time it starts from a melody or from the sound I want to get. In other words, before the track, I need to work on content. This doesn’t mean that I have an obligation to express certain content.

Which color would you choose to describe your music and how would you call your sound with an emotion?

I would say a mixture of midnight, purple, green and blue floating into the deep black darkness. This doesn’t mean that it cannot contain ethereal clear coloured moments. Emotion is what I get the inspiration from. I like the contrasts between emotions.

What do you enjoy the most besides music?

I like to read though I’m very selective, and sometimes I prefer to read a book I’ve read again instead of starting to read a new one. I love cinema history and its associated music. Years ago before the car accident, I was studying acting in theatre and I’ve been in many shows around my city. For a distraction, I like to travel to abandoned places and paint.

You are from Florence, Italy. What is the electronic music scene like there? Can you tell us some things about the Pure Signal Events Management team you co founded?

I’ve always been surrounded by crowds asking only for the drop and loving only the 4 on the floor and old skool stuff which is not so bad, but in the long term, I think every one of them is limiting his vision. 

Together with other friends / musicians and DJs, we have decided to found a team that wants to take on the “Pure Signal” of the music and the art in general which means that it should not be attached to only one thing, only to one vision or genre. 

In fact, until now we set up great events with visual projections and other displays that throw the listener into the heart of the music to understand the concepts and fly with it. 

I can remember really well the amazing nights we put together for the first time in Florence Bas Mooy, Domenico Crisci, VSK and the mysterious Headless Horseman. Now everything is unfortunately cancelled because of covid. We hope we can start again soon.

Visuals are a big part of your projects. Could you explain how you combine visuals and music?

As a hobby, I always do a lot of tries layering everything I like. After this process I let the music itself guide me on how to layer and make connections. Everything in art is always coming from deep pain and necessity. Though people that have studied art know what to do it’s always a question of imagination and the spiritual world.

You run your own label Koma Recording, could you tell us more about it?

Koma Recording is an independent label. I started it in 2013 in Firenze, Italy, to produce and distribute my own music and, in the future, the music of artists I think can join the vision. Today, I like very much the indie labels world. I support independent labels because they really let artists free to express themselves and support the scene. 

Labels like PercTrax, Sonic Groove, Headless Horseman, MORD, 47, Modularz, PoleGroup and so on did a great job improving the scene and making techno music not only a 4/4 genre for the club but also for listening purposes with a lot of mind stimulations for the listener.


Konnektivitat - Dj Producer

Can you tell us about your debut EP Immaterial?

Of course, Immaterial is my new EP which is being released May 18th on vinyl and digital. There are many concepts inside every track, but looking at the cover I painted and taking into consideration the title, I would like the global meaning to be interpreted by each listener in their own way.

The first track ‘Eternal Limbo’ talks about a dying philosopher. The philosopher is telling us the story of his life in the third person. There was a man that managed to reduce the world to pure logic. 

Looking at this perfection he wondered about the perfect ice and the perfect form. But when he tried to walk on that ice he realised that something was missing, so he fell down. That world was too perfect to let him live, so he understood that roughness and ambiguity aren’t imperfections; they are the blood that moves the world. 

As a result, he felt really free and started to live differently. But, he was homesick for that perfection, that wonderful ice where everything was radiant and absolute. Though he had come to like the idea of the rough ground, he couldn‘t bring himself to live there, so now he was marooned between Earth and ice, at home in neither.

‘Lobotomy’ it’s a physical trip into the modern human mind/body lobotomy. Its characters are repetition, electricity in a huge analog distortion amount, experimental obsession with an imperfect rhythm structure, just to give the track the life needed.

‘Man Of Madness’ talks about darkness and multidimensional demonic possessions. Every man has the Devil inside him, and for some these secrets are so heavy in horror that they can be thrown down only in the grave. The only way is to un-divulge them.

‘Tentacular Nightmare’ is pretty title-described. Is the modern man halfway between sleeping and awake On another level, cosmic floor, with all his demons, his garbage but also his dreams.

Any plans for the upcoming months?

I’m working on the next release that probably will be out this September/October. Many musical approaches and sonorities are evolving. The other goal is preparing my live setup / live set to play my music live. 

Since I am not addicted to performing DJ sets (I don’t like doing it so much) I would like to express myself playing real instruments.


Konnektivitat - Dj Producer

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Cavego Sat, 13 Jun 2020 09:15:48 +0000 Cavego Read More »


Cavego - Dovregubben EP

Cavego: What it is the element you would’t not ever change in your music for anything in the world?

For me the atmosphere and creating a story is important. Without that, it’s just sounds in a system without emotions. 

It’s clear that your music is influenced from many things: if u could create your own instrument, what would it be?

Maybe a sort of string instrument, but tuned in natural tones. 

Do you believe today music is still a musician affair, or what we should be ready to see in the next future?

I believe that everyone could make music, but you need the right tools to do it. 

Everyone could recreate an existing track, but the hard part is to do something original. 

Do you think you could ever live far from music?

Don’t think there are many people on this planet who could live without music, but for me I could never imagine a life without making music. 

Even if no one will listen to it, I will continue to make it for my own pleasure. 

Which color would you choose to describe your music and how would you call your sound with an emotion?

I often see dark green and dark blue when I listen to my music, I think. 

New EP - Cavego - Dovregubben


Music and technology – What is the perfect balance between the two? How much technology influences your choices as a music producer, giving the tools to express yourself and your style freely?

I like to use a lot of synths and blend with organic instruments. 

If you listen to electro music from 2010ish vs electro today, the music sounds so much better now than then, and we can thank technology for that.

People can do everything by themselves and it will still sound good. 

Considering now the particular moment we are living, what are your thought about the near future of the music?

I think the industry will evolve like it always have. And the music will evolve as well, but as we can see, the genres comes back around all the time, especially in pop music. 


Could you please tell us more about your Dovregubben EP on Eskimo?

“Dovregubben” is a continuation of my first EP “Gudbransdalen”. 

It’s more clubby and based on Norwegian fairy tales and fables.

I try to make a picture of the Norwegian nature, mountains and woods. 

Any plans for the upcoming months?

Stay inside and make music. And when things calm down I want to have some vacation here in Norway.

Cavego – Dovregubben EP

A fast rising star within Norway’s cosmic-disco scene, Bergen producer Even Hymer Gillebo aka Cavego returns to Eskimo Recordings with his 2nd EP, ‘Dovregubben’.

Featuring 4 tracks of shimmering, uplifting electronic music that can be enjoyed both at home and on the dancefloor, ‘Dovregubben’ revels in its playful sounds and shows exactly why the young Norwegian has already been tipped by the likes of BBC Radio 1, DJ Mag and Clash.

Where his critically acclaimed debut EP, ‘Gudbrandsdalen’, was inspired by the beautiful Norwegian landscape that he grew up in, ‘Dovregubben’ takes its cues from the region’s culture with the EP’s title itself a reference from Henrik Ibsen’s famous work ‘Peer Gynt’.

Opening with the track ‘Rask Gange’ Cavego quickly sets out his stall, a deep bubbling bass line, crystalline melodies and a driving disco beat perfectly captures the euphoria of speeding through the frozen landscape atop a snow-mobile, the sun rising above the horizon its rays catching and illuminating the snowflakes suspended in the air like a fragile, intimate, light show.

Named after a seductive Scandinavian forest spirit the EP’s second track ‘Huldra’ adds soft diaphanous wordless chants to the mix capturing the golden haired creature’s seductive cries to produce a truly magical, if eerie, song.

The EP’s title track is up next and here Even has drawn inspiration from the titular Dovregubben (“the Dovre Giant”), the largest and at one time fastest locomotive in use in Norway.

Built around a metronomic beat and looping synth arpeggios that echoes the feeling of speeding along the tracks through the wide open landscape between Oslo and Trondheim.

Finally to complete the EP we have the darkly euphoric ‘Alfred (Og Vennene Hans)’.

From a throbbing beatless intro, the track burst into life, pulsing with energy as Even harnesses the power of his enviable synth collection to dramatic effect, subtly adding further tones and textures as a looping guitar riff and percussive elements wind their way in and out of the mix.

Cavego – Dovregubben EP

More Infos at this link >>

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Local Suicide Tue, 26 May 2020 21:31:20 +0000 Local Suicide Read More »


1. Local Suicide: from Cobra Wave to Techno Disco, which color would you choose to describe your music and how would you call your sound with an emotion?

Probably every track would have a different color, but for most of them it would be on the either darker or more intense spectrum of colors, from dark blue to deep red to pitch black. The emotion would be excitement.

2. It’s clear that your music is influenced by many things and different styles: if u could create your own instrument, what would it be?

Local Suicide – Vamparela: It would be a very weird one, with lots of different possibilities and sounds. 
Local Suicide – Brax Moody: Probably a kind of messy one which has some cool functions but we’d use 3 times before it dusts to death. 

Local Suicide

Local Suicide

3. You had recently in your Mexico Tour an immersive time far away from Berlin: what would you love to steal there to bring in to your city?

Mezcal and all of our new & old Mexican friends 

4. Do you believe today music is still a musician affair, or what we should be ready to see in the next future?

No one needs to be able to properly play an instrument anymore which I think is a good change as it gives more kids access to the music world. Probably as usual all the established big acts and the better off will survive the crisis and be able to keep up doing what they love. For the others and newcomers it’s gonna get even harder to get attention, gigs etc and still be able to put food on the table without a day job.

5. What it is the element you wouldn’t ever change in your music for anything in the world?

Nothing! Would love to hear our sound evolve and change over time with no rules and boundaries as we please!

Local Suicide

Local Suicide

6. Do you think you could ever live far from music?

Local Suicide – Vamparela: For both of us music has always played a major role in our lives. Since we were kids we were into music, both had radio shows in our teenage years and both started djing at a very young age. We also both ended up also working in the music business (our day jobs), so music is a huge part of our lives and it doesn’t look like it will ever change. Local Suicide – Brax Moody: I can imagine to stop working in the music industry at some point but I’m sure I will keep on doing music till I physically can’t do it anymore.

7. Music and technology – What is the perfect balance between the two? How much technology influences your choices as a music producer, giving the tools to express yourself and your style freely?

The perfect balance is where the production still feels organic and you can recognize some elements or hear certain instruments but still, you could create it with just a laptop and headphones. Not sure if I could ever like a song that’s been solely computer-generated with AI etc. We are still far away from robots replacing musicians, singers & producers!

8. Which are in your opinion the pro and contra of music industry nowadays?

The music industry always reacted way too slow on all major changes (Digital Downloads / Streaming / Decline Of Tape, CD & Vinyl sales) and the distribution of the money was and is totally unfair. As everywhere else the big players make the money and the small ones get nothing. But then it’s the only job where you get paid to see live & Dj shows, listen to music all day and hang with the most interesting people!

9. Considering now the particular moment we are living, what are your thought about the near future of the music? 

Local Suicide – Vamparela: Many artists, djs concert venues and clubs are facing huge financial difficulties. If the coronavirus crisis continues much longer, the future is not so bright.
Local Suicide – Brax Moody: Basically the same – just a bit more extreme: The big name DJ’s will increase their fees to compensate their losses and because they can, the promoters are gonna keep on booking them anyways (as that’s seemingly the only sure shot for a successful event) and then try to save on local DJ’s who will swallow it anyways and the separation and unfairness goes on. 

Video Premiere: Alejandro Paz & Local Suicide - Take It Easy [AEON]

 Photos by Alexander Wegmann

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Alex Visani Fri, 28 Feb 2020 13:32:29 +0000 Alex Visani Read More »


Film horror 2020 – Intervista al regista italiano Alex Visani

Come è nata la tua passione per il cinema horror?

 Credo che la mia passione per l’horror fosse da sempre dentro di me. Credo sia nata con me. Fin da piccolissimo tutto ciò che era orripilante, oscuro e semplicemente “diverso” mi ha sempre attratto irresistibilmente.

Una sorta di campana di vetro dentro la quale correre ogni volta a proteggersi dall’orrore vero, quello di tutti i giorni.

Il sito rappresenta la mia voglia di comunicare la mia passione per l’horror al mondo intero e il mio bisogno di parlare di cinema horror. Il bisogno di dare forma, attraverso le parole, alla mia passione.

Dirigere film è invece il modo di dare forma alla passione attraverso le immagini e, più semplicemente, il mio umile omaggio e contributo al genere che tanto amo. 


Cosa pensi dei film horror usciti ultimamente?

Hollywood è la patria del cinema, persino del cinema horror. Devo dire però che molti dei titoli, da “Annabelle” passando per “It”, si sono rivelati grandi successi al botteghino ma al tempo stesso mostrano un appiattimento nella creatività ed una mancanza di coraggio nella messa in scena.

Manca la volontà di fare paura realmente allo spettatore e si rivolge lo sguardo al pubblico di giovanissimi spettatori, auto censurandosi in partenza. D’altronde le leggi di mercato sono durissime, il cinema è in crisi…perciò meglio andare sul sicuro e cercare l’incasso garantito (o quasi).

In Europa ed in Oriente c’è ancora la possibilità di visionare prodotti più veraci, aggressivi e talvolta più genuinamente spaventosi.

Quali sono le maggiori difficoltà che solitamente incontri sul set? 

Sicuramente la mancanza di budget. Purtroppo fare horror in Italia è difficile e non sempre si riescono a reperire i fondi economici o tecnici necessari per lavorare “in scioltezza”. D’altro canto la mancanza di budget spinge a fare di necessità virtù e spinge ad aguzzare l’ingegno. E questo per assurdo è un aspetto che amo dei miei set, ovvero la fantasia la fa da padrona e spesso è in grado di farmi oltrepassare limiti che sembrano, inizialmente, invalicabili.

Per te è più importante la sceneggiatura, gli attori o la suspense? 

Sono tre elementi assolutamente fondamentali per realizzare un buon prodotto.

La storia, i dialoghi e la scrittura stessa sono la base per imbastire un film che, sia esso originale o derivativo, possa coinvolgere il pubblico.

Gli attori sono la carne che da forma al film stesso. La loro bravura e la credibilità sono elementi fondamentali. Ci sono film modesti che grazie all’interpretazione degli attori si elevano in modo impensabile e, al tempo stesso, ci sono grandi film che grazie alle straordinarie prove attoriali diventano veri e propri capolavori.

La suspense è un elemento difficilissimo da gestire per un regista. È un sottile filo sul quale muoversi come equilibristi e può garantire il successo al film stesso. Poi c’è da sottolineare che non tutti gli horror puntano necessariamente alla suspense, in alcuni casi l’utilizzo di ironia, aperta comicità o effetti splatter fanno prendere al film strade diverse e non per questo meno divertenti o azzeccate.

Ci parli del tuo ultimo film “Stomach” ?

In STOMACH, ci sono parti della mia vita rappresentate attraverso una lente grottesca, estremizzata e deformante. Ho cercato, pur mantenendomi negli schemi del cinema splatter, di catalizzare tutte le mie frustrazioni, le mie preoccupazioni e la mia rabbia dandogli una forma mostruosa ed esasperata.

Ho cercato di dipingere un mondo di orrori nel quale l’individuo è vittima di vessazioni ed ingiustizie. Dove l’individuo dotato di sensibilità ed umanità è destinato inevitabilmente a subire ed assorbire le colpe degli altri. Fino ad arrivare al “punto di rottura”. Il film è stato realizzato grazie alla coproduzione di Giacomo Ioannis ed è distribuito da Digitmovies.

Stomach – Alex Visani – Home movies disponibile su Amazon

Fondamentale è stato l’apporto di tutti gli artisti, gli attori e i tecnici che mi hanno aiutato in maniera straordinaria ed incondizionata. Fabio Carlani è stato un protagonista di bravura e coraggio incredibile e Ingrid Monacelli, mia compagna nella vita reale, è stata la mia forza, il mio coraggio ed ha sopportato (e supportato) tutte le mie follie.

Per chi ne volesse sapere di più , questa è la pagina ufficiale del film: Pagina Facebook STOMACH >>

Come si prospetta il tuo prossimo progetto? 

Assolutamente folle. Un omaggio al cinema horror italiano di serie b che non si pone limiti per quanto riguarda storia delirante, splatter a profusione e narrazione allucinata. Attualmente mi trovo nella fase di pre produzione e conto di iniziare le riprese prima dell’estate. 

Alex Visani – Links

Pagina Facebook STOMACH >>

Vedi STOMACH su AMAZON – Alex Visani >>

Vai a STOMACH su AMAZON – Carlani, Monacelli, Breccolenti, Calogero, Cerro >>


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Katherine James Wed, 26 Feb 2020 12:20:56 +0000 Katherine James Read More »


Katherine James – The interview for MinimalMag

Tell us briefly about you, what’s your background?

I am currently based in Leeds but I have lived in various different parts of the UK over the last few years. I’m just coming to the end of my studies here at the School of Design.

Before that I was an Art and Design technician for a while where I had the opportunity to learn about ceramics, the dark room, printing, wood and metal work. I think that was a really significant time for me in that I developed a respect for materiality and the potential of matter which is hugely influential on the way I work now.


3 words to describe your works?

Art, craft, design

How does your workspace look like?

My work bench is made of a thick wooden kitchen-island worktop which one of my neighbours was throwing out. He couldn’t fit it in his house, so he gave it to me and I sanded it back and re-varnished it. Now it sits across two storage units at each end which are full of a whole array of materials and tools.

I always like to keep books about art and design lined up at the end of my desk and I have a pin board which I try and change regularly with fresh imagery to keep me inspired.

At the moment, my bench is covered with a few cobbled together wooden frames which I build for making the chain maille from and lots of little experimental pieces which might spark an idea.


What is the best personal advice you can share in order to be more creative?

Try to notice things about yourself, recognising times when you feel most creative or productive. I have learned that I write best in the mornings and I feel most creative in terms of thinking-through-making in the evenings.

I think there can be a feeling of pressure in the daytime, like a 9-5 expectation that we inherit from society that says this is when we should expect to work and get things done, but its not the same for everyone.

What art/design do you most identify with?

I really couldn’t say, but I like to go by the term maker. Sometimes you could call what I make jewellery, sometimes its fine art sculpture, sometimes it more like a craft or design practice.

I’ve never wanted to stay within one discipline or material, or perhaps I just haven’t found the one yet!

I think identifying as a maker means your practice isn’t defined by a particular audience type, you can reach different people with each project.


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Omen – Lewis Monbarn Tue, 18 Feb 2020 21:27:27 +0000 Omen – Lewis Monbarn Read More »


This Album represents my journey.
This is what I have to offer.
This is what I want to share.
All the frequencies are there,
now I invite you to channel it.

Lewis Monbarn

Omen - Lewis Monbarn

At the time of composing a year of reflection and learning had passed. Popularly known as Lodewyck, legendary producer Lewis Monbarn takes flight with his debut album Omen.

Lewis Monbarn’s affinity for music has been a lifelong affair.

He began creating electronic music at twelve years of age and has grown to be a moving force in the house music scene, getting the support of many international djs and having most of his releases on top of the charts.

It is with this same creativity that we find his debut album Omen to be an exceptional item.

Monbarn is able to build an exemplary musical landscape that encompasses elements of industrial, electro, jungle, and psychedelia into the framework of house music.

Monbarn’s production on Omen takes a cinematic route that keeps his audience intrigued with each and every transition.

Omen’s exotic and tribal grooves amid post-modern measures of keyboard and synth create an aspiring view of the world through music.

Monbarn infuses chants and other “sacred” voice sounds throughout Omen for increased continuity.

Omen by Lewis Monbarn is a sonic canvas of one producer’s life story that captures our own.

Lewis Monbarn – Omen – The new Album




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