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| A temprana edad, estando en Dublín, te introdujiste en la música y al parecer las ciudades donde has vivido te han influenciado musicalmente [Boston, Londres, Los Ángeles]. ¿Podrías describir tus experiencias en cada una de ellas? | ^^kkkk | To early age, being in Dublin, you were introduced in the music and it seems that the cities that you had lived made a influence in you [Boston, London, Los Angeles]. Could you describe your experiences in each one of them? "In Ireland I began to listen the first electronic sounds. After leaving my island, there was only the possibility to listen traditional music. The Beat Club from Dublin was exactly the place where I listened techno music for the first time. I helped an Irish friend to mount and to disassemble stages mainly to rock concerts until they received an offer to make the sound for this recently opened club, it opened every 2 weeks. During a sound check I had my first contact with two turntables and I put the first records of my life. In London I dedicated myself to go to techno clubs to become involved of that music and the technic from big DJs like Dave Angel, Darren Emerson, Laurent Garnier and Richie Hawtin, at the beginning that was very helpful for me. That was the main reason to buy my first vinyl’s, although I was already some months buying records that I liked, like Plastikman, I guess “Sheet One” was the first vinyl I bought. Then I went to Boston were I performed in my first parties with the NEAU collective. They helped me to perfectionate myself as DJ and having my first contacts with synthesizers and samplers. It was an intensive time, because the scene in the US was very underground and was very frequent the police intrusion that was very entertained. Los Angeles was the beginning of my professional career, I was resident of ONE Entertainment there, the most prestigious techno promoter, they organised events with more of 15.000 people and I shared cabin with first level European artists like Chris Liebing or Gayle San. After two years of musical production, Andre Clyne released my first production for Homeless Records; a Californian label specialized in hard techno. Finally, before coming to Barcelona, I was a moment in Gran Canaria (Canarian Islands), my native island; there I was involucrate in an interesting project called Protone, dedicated to the electronic art diffusion through the islands, making expositions, seminars and events. Once it finished this, I decided to begin my personal project [KLITEKTURE]." You had been involved in various projects during the last 10 years, working, for example, with Andrew Clyne [what about your material released in his Homeless label?]; N.E.A.U.; Fred Gianelli and T.M.F. Can you talk a bit of those participations? "NEAU was in Boston, like I told before, where I had the opportunity to meet and share cabin with Fred Gianelli. He brought us records that it arrived monthly from Europe. At that moment there were no techno or house record stores. Andrew Clyne has been my biggest influence and the one that more comfortable I have felt myself working. We dedicate a lot of time making music and experimenting together, so there was a moment that we didn’t need to prepare our sets of 4 turntables and 2 mixers, we simply played and were amazing to see how all worked synchronized, without a previous organization. With Andrew Clyne, Corey [Fidget], Ann [Groove 42] and Dave we made TMF [The Music Family], a project to experience with analog synthesis and sample technics." With T.M.F. you experienced with analog synthesis and methods of sampling. How was the way of development of that and which are your actual tools to work? "We worked with a Minimoog, ARP 2600, Kurzweil 2500, Roland JP8000, Phat-Man modular and a MAC power pc. That was our basic studio. The sample methods were diverse, we recorded all sort of sounds and we did sessions in which each one brought weird and interesting sounds and then we recorded and processed the analogic synths, specially the ARP2600... when Autechre released microsampled bottle sounds. Fidget that worked with us had utilized them casually in several of his own compositions. It was a matter of learning and experimenting simply with sounds, it was an enrichment phase." You began with Klitekture in 2001 in the Islas Canarias. A friend of mine that lives there says that the scene is slow. That’s why you live now in Barcelona? It seems through Protone you are making events, expositions and seminars. In what do they consist? "Protone no longer exists; it was a project that lasted a year. The seminars that we organize were of musical production, the best exhibition that we made was during the International Video and Multimedia Festival of Canarias. We made six of them, one each two months and we brought fascinating artists like Joel Mull or Sutekh, and they performed for the first time in Spain for us. The scene in Canarias is very bad; it seems that sometimes are some specific events with interesting artists but without continuity that makes no possibility to create a scene. The authorities also put it that very difficult or almost impossible, so I decided to go to Barcelona, I would like to stay in my island doing what I really like." You have said that the minimal scene in Spain is growing up and at the same time the festivals are including this kind of music. Which are those artists and festivals? "The most interesting artists that I have lately listened and who I remember now are Pep Gaya, Eduardo de la Calle, Resonic, Darío Moratilla, Ignacio Bericochea but I know there are lots more hidden by the corners of Spain. The festivals that I refer are the now consolidated SÓNAR, and then there is OFFF in Barcelona and Observatori in Valencia among others to smaller scale in Madrid, Sevilla and other cities." You have several forthcoming editions in mind. Johan Skugge and Tomas Jirku by Klitekture, create an MP3 label, a compilation of various Spanish musicians... Could you explain what's coming up? "After the problem that we had with the distribution I have determined to make some changes with the purpose of not delay the pending references that I have. If I plan them one by one it would take me one year and I think that will contradict the politic of the label, so I'm planning to release a double compilation with that material, then comes Paul Farrington’s album and my first solo E.P. on Klitekture, with what I will give it the new course that I want it to give to the label." Exists LOD, your more experimental side and Luis Ortiz, more hard-techno oriented. You will create a sub label for that and you find yourself also making a dub project? "I'm leaving the hard techno, now I try to find a minimal - industrial, broken and aggressive one that does the functions of that, because that techno right now says nothing to me. LOD is more my minimal and experimental side but for the next year I will give him a new sound to Luis Ortiz and maybe in the future can be a cross in some point between those projects. I like to stay constantly in change and I don't like to classify myself in any sound or style, the thing that I like most from minimal is that he’s opened to lots of sounds and styles." You participated in a festival in Frankfurt called Time Warp. How was that experience? "The festival was the Time Warp. It was an amazing one, they organize the biggest private events in Germany with 200.000 people and I had the possibility to share cabin with artists like Speedy J, Thomas Heckman and Pascal Feos. In March 2004 I will go to Frankfurt to play with them among other dates that I have in Europe so that's great!" Text Jorge Cortés
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