Artists

Techno Vinyls Records ’ series of interviews, we talk to producers who have releases on our label.

Interview with Kilany M

What does producing mean to you? When did you start your music career and what motivated you?

• Music production is something that i was lookin for since my childhood, im addicted to music as listener in diffrents style and always want to explore the world of industry music.
  and in the beginnig as a listener i was a fan of trance music and touched by many legends as rank 1, paul van dyk, Paul oakenfold, tiesto… and it’s hard for me as a child to get money and collecte records CDs, K7, so, after years in 2006 – 2007 i started learning Djing by using virtual Dj, cause it’s hard to buy tuntables or mixeur cause it cost and the family can’t even give me money to buy and in 2009, i discovered the first DAW that i actually use it (Fl Studio) by a friend at school, and i started using it with no experience and over the time i started understanding how i can makes drums and melody by using plugins and more futures…so i began with trance music creating some tracks the way i can. In 2012, i meet some producers from my city and that’s helps me to learn more from them, and with time and hard work, i get where im today and still much to learn yet.

How have your releases inspired you throughout your career?

• Sure, and that’s by the love that i get from the peoples through feedbacks and the great support, and seeing my tracks crossing the world which is born in my humble home studio, and makes me work so hard and spending more time in the studio to make my best and attract more listeners and try to makes variety in my music from melodic techno to hard techno, and sure see my music played and supported by great artists as John digweed, armen miran, Oostil… and that’s enough to give inspiration for doing more.

Do you like to collaborate with other artists? What do you think about remixing? Do you like to remix or do you like to have your music remixed?

• Of course, i like to collaborate with other artists, it gives me more experience and even learning from them as they learning from me as well to get the sweet harmony of our ideas!
  and about the remixes, for me as a competition to makes better than the original and sure i accept to make it if i feel my self able to add to the original idea!
  As i like my music being remixed by other artists to see my idea developed in other way.

How do you choose a title for your tracks? Do you think a well-chosen track and EP title matters ?

• Choosing name of my tracks, sometimes, tooking the name of the places where i got the inspiration, or from the melody that i create! for exmple, i listened to it and imagine what this melody can describe in one word! And of course titles of EP or track can makes the tracks more attractive “sometimes” to the listeners to push the play while they see it.

Is a well-designed cover important to you ?

• Cover of the ep or tracks is important for me too, as i see many labels makes bad covers maybe they don’t thinking about it seriously, cause it can gives also attraction as the title can do.

How do you choose record labels (what is a good label for you and what are your expectations) ?

• I choose a labels after looking for their contents, music quality and of course the style that fit to my work, and like many times i got request to release music from the label it selfs.

How do you see track sales in the digital millennium data flood (for example: how do you see the digital sales, promotion tracks, illegal downloads etc.) ?

• For the sales, i really didn’t give attention, cause i makes music as i said before for sharing it with peoples and to get great feedbacks and support, but we can’t skip this totally cause from your sales u can be shown for more audience. Promotion tracks is great too it can gives you more attention even not with big artists at least it gives you the chance to be supported by artists you even don’t know, and the illegal downloads is the big mistakes that really reduce the chance of salling!

What are your future plans for making tracks ?

• For now, nothing special but im looking for investing more in setup for my studio and looking forward for more attention in 2021.

Thank you for accepting our interview request, we wish you much more success in your producer work!

VINYL ► Kilany M – Process

Techno Vinyls Records ’ series of interviews, we talk to producers who have releases on our label.

Interview with Silent Souls S / S (Ivan Bagnoli)

What does producing mean to you? When did you start your music career and what motivated you?

• For Us Producing Our Own Music Is The Perfect Change To Create The Proper Atmosphere During Our Set, From Intro To Closing Track. Me (Ivan), Personally I Started My DJ Career When I Was 14, And Often I Spent My AfterNoons After The School Helping My Uncle In His Record Shop Before And Then Audio Service. About Linda (Second Half Of SILENT SOULS), She Enjoyed The Project When We Get Married. The Combining Of Our Two Personalities Was Perfect To Make Possible “SILENT SOULS” Project Born.

How have your releases inspired you throughout your career?

• As I Said Our Releases, Even Under Different Alias, Were Foundamental To Understand The Approach On Our Sets, And Dancefloor Reposonse.
  After Some Previous Project, Silent Souls, Just Fit Perfect For Us And Our Music.

Do you like to collaborate with other artists? What do you think about remixing? Do you like to remix or do you like to have your music remixed?

• In The Past Years I Did Several Remixes, And Our Remixed Tracks Too. But With The New Project We Changed Completely Our Mind. Now We Absolutely Prefere Too Be 100% Focused On Our Own Music.

How do you choose a title for your tracks? Do you think a well-chosen track and EP title matters?

• The Titles Oo Our Tracks Always Depens From The Album Or EP Title, And Also From The Artwork.

Is a well-designed cover important to you?

• I Believe That The Cover Should Be Designed By The Artist, But Often This Is Not Possible.
  Then Could Be Well-Designed Or Not, Could Be A Picture Or Whatever The Artist Like, But Always In Agrement With Label Management.

How do you choose record labels (what is a good label for you and what are your expectations)?

• We Like The Labels That Take Their Time To Listen To The Artist Work, Without Accepting Any Kind Of Music They Receive Just To Make Sales. At The Moment We Are Really Focused On Our Own Label Scarlet Carson Black. Techno Vinyls Records Was Our First Vinyl Release And Let Me Say One Of Our Best. After Two Years Our Intro Track “THIRD VISION” Is Still Aamazing Aand We Play It At All Our Gigs. I Can Say Is Our Tradamark, And When People Listen To It They Say “Silent Souls Are On Stage”.

How do you see track sales in the digital millennium data flood (for example: how do you see the digital sales, promotion tracks, illegal downloads etc.)?

• I Think Digital Sales Are Not Anymore Under Control. For Example We Stoped To Use Beatport, That’s Because Every Day I Dindt Know How Many Tracks Are Releasing, Maybe Thousands. You Get Lost, And The Track Released Today, Tomorrow Will Be Old.
  To Listen And Buy Music We Like A Lot Bandcamp, Like This We Go Straight To Listen Our Favorite Labels And Artists And We Contribute To Help Small Reaities.
  About Promotion, I’m Agree If Its Focused And Untill It Became Spam.
  It Does Not Make Sense To Send Techno Promos To House DJ’s Or Viceversa.

What are your future plans for making tracks?

• Future Plan For 2021 Is To Arrange A New Vinyl Release On Our Lable Scarlet Carson Black.

Thank you for accepting our interview request, we wish you much more success in your producer work!

VINYL ► S / S – Visions

Techno Vinyls Records ’ series of interviews, we talk to producers who have releases on our label.

Interview with Daytona Team (Juan Jose Carrasco Lopez)

What does producing mean to you? When did you start your musical career and what motivated you?

• The madness began casually in one night in 1995 with Juanjo Daytona with in Barcelona. There, in a visit to the old Apolo hall (Current Nitsa) he discovered what techno was and without going unnoticed by him, he decided to take the path to bring it to Murcia. Influenced to a great extent by the Detroit sound. From very early on he had a clear idea of who his references were and what he wanted to do with his friends. In 1998 they got together to form a band. Juanjo Daytona, GoTXa, Jesús aka Resset 05 and a singer from Mozambique, Roger, began to discover their first references and with it to buy their first machines, which gave rise to his group Daytona Team.

How have your launches inspired you throughout your career?

• For 10 years we were going through different festival stages and it was then when with the first album “Hey you mother fu**ker” in 2009 the opportunity arose to take the Mona Records label that has been gaining more and more followers within our country. But this label has never wanted to limit itself nor put frontiers to its music, proof of this is the acceptance of the platform at a worldwide level, having as an example its presence in international events such as the Fusion Festival in Germany, Festa della Musica in Milan or Free Field Festival in Rome.

Do you like collaborating with other artists? What do you think about remixing? Do you like remixing or do you like your music to be remixed?

• The truth is that I like more to be remixed, but I also enjoy doing versions of other artists who ask me to do a remix for them, it all depends on how inspired I am and if I like the remix track very much. I have worked making remixes for Cj Bolland, Shin Nishimura, Tomo Hachiga, or Dave Angel among some famous artists, and I have been remixed by people like Dave Tarrida, Christian Haro, Javier Orduña or Denite.

How do you choose a title for your tracks? Do you think a well chosen track and EP title is important?

• If i think titles are very important, they make people remember the song and remember it for a lifetime. We always like to put a bit of humour in the titles or make some word games, a bit imitating and following Alex Under’s trend who was the first in Spain to do that.

Is a well designed case important to you?

• For me it is very important the design of each album, the cover is the image of the artist, and in that some labels, do not ask what you like simply make a cover without investigating much beyond the artist. They should look at it! We have always been quite transgressive, and a little bit politically incorrect.

How do you choose the labels (what is a good label for you and what are your expectations)?

• For me a label is one that cares about its artists, and has a personal relationship with them, and continues to make the relationship stronger, and from there come out better things and new work. It is very important that there is communication!

How do you see the follow-up sales in the avalanche of data from the digital millennium (for example: how do you see digital sales, promotional tracks, illegal downloads, etc.)?

• I think it’s all crazy and we don’t really have much information about sales or downloads, or how much you earn, but surely behind all this there are people who are getting rich. Beatport , Spotify move millions of euros, and give very little to artists.

What are your future plans for making tracks?

• To improve as a musician and to continue developing and investigating, lately I have been investigating about concrete music and the first references of electronic music in 1950. I also research Spanish producers and musicians of the 20th century who started to develop new music and performances.

Thank you for accepting our interview request, we wish you much more success in your work as a producer!

• Thanks to you for your interest in me. Long live Techno Vinyls Records

VINYL ► Daytona Team – Reaction

Techno Vinyls Records ’ series of interviews, we talk to producers who have releases on our label.

Interview with El Atalaya (Santiago Gallego)

What does producing mean to you? When did you start your music career and what motivated you?

• Producing for me is doing things from the beginning. Search for sounds and record them, to be able to process and put them together one by one and gather a sound message. I started my musical career in 2012 and my motivation was the need of human beings to make music and express their ideas and emations

How have your releases inspired you throughout your career?

• My releases have inspired me to release music with other people, it inspires me to go out to record sounds, it inspires me to be able to play my music in clubs and parties, it inspires me to play with my friends

Do you like to collaborate with other artists? What do you think about remixing? Do you like to remix or do you like to have your music remixed?

• Yes, I like to collaborate with other artists, apart from the fact that the work is easier to gather tracks. I like it better that my music is remixed

How do you choose a title for your tracks? Do you think a well-chosen track and EP title matters?

• I like to read books, I like to look at people’s lives, the way they act, I like to look at nature and their way of life. Looking at everything around me I can choose my names for the tracks. Of course, I think it is very important to choose a good name for the tracks,
  since each sound has its own characteristics, it must have names that correspond

Is a well-designed cover important to you?

• Of course, a cover must be synchronized with the name of the Ep’s or releases, so it will have more coherence things come into our eyes first, so a good artwork will help. it’s beautiful to see the artwork from Tehcno Viny’s Records

How do you choose record labels (what is a good label for you and what are your expectations)?

• I like to pay attention to my favorite artists, where they release their music and what musical styles they produce. I stash the stamps according to my own creations. I always listen to a lot of music so it’s not difficult for me to know where I want to be
  I always want the best for me, so I send very good labels

How do you see track sales in the digital millennium data flood (for example: how do you see the digital sales, promotion tracks, illegal downloads etc.)?

• I see sales a bit difficult, since each digital track costs very little money, 1 dollar, 1 euro, maximum 2 per track, this is difficult for the artist, so we earn very little money. It should also be noted that in my country there are very few people who buy music, but little by little we will become aware of this. Digital music is a form of income for us so I see this well. on the other hand, illegal downloads … this gets out of our hands shouldn’t exist, but hey ….

What are your future plans for making tracks?

• My plans for the future are clear, to continue improving the sound, getting more pure recordings, fighting to advance the sound in processes and in quality, creating alliances with musicians friends and powers my projects

Thank you for accepting our interview request, we wish you much more success in your producer work!

• It is a pleasure for me to participate with you, I also wish you success with the music of Techno Vinyl’s Records

VINYL ► El Atalaya – The Past Is Dead

Techno Vinyls Records ’ series of interviews, we talk to producers who have releases on our label.

Interview with Ricardo Piedra

What does producing mean to you? When did you start your music career and what motivated you?

• Producing is a most important self – expression for me.a spiritual activity, every day. If I can’t sit in front of the computer, an idea still spins in my brain. Something always wants to come out. I don’t think this is something that comes from me. I’m more of a channel. Something universal flows through me and slams through my own filter in the form of music.

How have your releases inspired you throughout your career?

• My career started in the early 90s. In 91, me and my friend started making techno music. That was my first band.I was already very interested in all kinds of music, but from 88 I was infected with early acid, house, and all the modern and innovative music of that time. My father was a musician. guitarist, violinist subconsciously certainly influenced

Do you like to collaborate with other artists? What do you think about remixing? Do you like to remix or do you like to have your music remixed?

• I played more in a band than in a solo, it’s a great thing that the spirituality of several people is combined in one work. This also applies to remixes, even if we don’t know each other. Somehow you have to feel each other’s vibrations.

How do you choose a title for your tracks? Do you think a well-chosen track and EP title matters?

• The title is very important. Someday I know what I want to write music about. By then, the title might already be in front of the music. Then there’s when just one jam session goes very well and you need to find some title. At times like this, I often shape the music to better express the title. I also write lyrics. In this case it is easier to choose the title than in an instrumental piece, where there are only moods, musical colors, feelings that are difficult to describe in words

Is a well-designed cover important to you?

• Very important. The music is filled with visuality. Nowdays, on the social media many times people see the cover before they hear the music, so no matter what visual stimuli you attract them to the music

How do you choose record labels (what is a good label for you and what are your expectations)?

• I look at it from several directions. First of all I’ll see what their repertoire is. Who do they work with, and does my work fit them.the other direction, though, is how popular it is, how much it advances my career. Therefore, it is also important.It is very important too that this personal good relationship is established with the owner or manager.The most uplifting was when I wrote down on a piece of paper my favorite labes about where it would be good to be there, and several of them contacted me themselves. either for a remix or for an original

How do you see track sales in the digital millennium data flood (for example: how do you see the digital sales, promotion tracks, illegal downloads etc.)?

• I started in early 90’s I remember the cd sales, This was already much less than when only vinyl existed. Worldwide. Then I remember seeing the first Sony mp3 walkman commercial on TV. I told my partners, we fucked up. But not just us, but the whole music society.Unfortunately, I was right.In the early 2000s, it was still possible to make money from a digital releases. today, these sales have fallen to a tenth. It’s a very wrong direction when advocates, and right defenders target social media shares. Free downloadable music sites should be sanctioned much more severely.

What are your future plans for making tracks?

• I always have a lot of plans with different projects. 3 solo, 2 bands, and always have temporary works as ghostproducer in a wide palette. I can continue as long as I can. I will focus more on international gigs!

Thank you for accepting our interview request, we wish you much more success in your producer work!

• Thanks a lot for the continous trust, and the opportunities TVR!

VINYL ► Ricardo Piedra, Gabriel West – Space Journey

VINYL ► Ricardo Piedra – Lava

VINYL ► Ricardo Piedra – Wings Of Wind

VINYL ► Ricardo Piedra – Wings Of Wind (Remixes)

VINYL ► Ricardo Piedra & Andrew T Dorn – Lifeforms

VINYL ► Ricardo Piedra & Andrew T Dorn – Lifeforms (Remixes)

VINYL ► Ricardo Piedra & Andrew T Dorn – Intruders

Techno Vinyls Records ’ series of interviews, we talk to producers who have releases on our label.

Interview with Marco Ginelli

What does producing mean to you? When did you start your music career and what motivated you?

• I started playing music at a very young age, 10 years ago. I’ve never studied music, I can’t play any instrument, I became a DJ completely by accident one day to the next. I started producing around 2012 completely at the basics. I experienced everything on my own: use of the software, collecting and cutting sound samples, mixing, mastering, the structure of the track and I could list. My tracks was played by big ones like UMEK, COYU Stefano Noferini, Vlada Asanin … It is an eternal love for me that never depends. It can be stopped, but not finished.

How have your releases inspired you throughout your career?

• It has always been important to me what the audience thinks about my track, I am interested in everyone’s opinions. I’ve been writing techno tracks since 2014, trying to create my own style for myself. When I see Charlotte de Witte or Amelie Lens playing my tracks at Awakenings, it’s a very good inspiration for a producer. It’s an incredible feeling to see thousands of people go crazy for it, even if you don’t even know whose track it is.

Do you like to collaborate with other artists? What do you think about remixing? Do you like to remix or do you like to have your music remixed?

• I think working with someone else is useful because there are many producers who complement each other. We can learn a lot from each other. I love working with both new names and more famous fellow musicians. I tend to make remix for new musicians. I think it’s important that we don’t just make original tracks and let’s also ask for remixes for our tracks. It is often said that which track isn’t made into at least one remix is worth nothing. Of course this is not scripture!

How do you choose a title for your tracks? Do you think a well-chosen track and EP title matters?

• All my tracks has an atmosphere: more pulsating or just Dark, gloomy style. It also depends on my mood what the final result will be just then. Nothing should be forced, it will always be a problem. I also give the title based on this. I like to give my Industrial Techno tracks an abstract, almost “meaningless” title, which just means something to me. For example a sequence of numbers, a code, or the like.

Is a well-designed cover important to you?

• In the world of the internet, our intellectual product, or whatever we want to sell or press down on the throats of others, is worthless without a good graphic or a good photo. It’s important to have something to grab in it when you see it. The same is true with track. It is a huge advantage if the cover is in line with the style of the track.. Abstract, or just cheerful, colorful. It also depends on your target audience. You wouldn’t buy a Dark Minimal track with a colorful palm tree album cover.

How do you choose record labels (what is a good label for you and what are your expectations)?

• All my tracks is equally important to me, be it my own composition or remix, it doesn’t matter at all. I put a lot of energy into finding the right record label. Great advantage if at the label several celebrities already have releases or are making remixes and if the graphics look good. A plus point if for example in addition to a digital release the track also appears on vinyl.

How do you see track sales in the digital millennium data flood (for example: how do you see the digital sales, promotion tracks, illegal downloads etc.)?

• Nowadays, everyone can download anything, from anywhere. Very few buy a piece of track. Anyone who buys track does it out of respect or to preserve sound quality.

What are your future plans for making tracks?

• Developing my modular synthesizers, improving the sound of my music, making it diverse. I would like to put more energy into my performances, as many as possible, I would like to perform abroad again, but mainly to go to domestic clubs, as the situation in the country allows.

Thank you for accepting our interview request, we wish you much more success in your producer work!

VINYL ► Marco Ginelli & Andrew T Dorn – Hellbound

VINYL ► Marco Ginelli – Apocalypse

VINYL ► Marco Ginelli & Otin – Do You Know

VINYL ► Marco Ginelli & Secretvision – Mysterious Place

VINYL ► Marco Ginelli & David Temessi, Victoria Franches – Kaos2020

Techno Vinyls Records ’ series of interviews, we talk to producers who have releases on our label.

Interview with Juan Trujillo

What does producing mean to you? When did you start your music career and what motivated you?

• Music was allways a very important part of my life. Since very young i was atracted by instruments, bands and the creative proces of making music. After several years playing with different bands an styles i discovered electronic music with the album maxinquaye from Tricky and short after that it was Daft Punk who open my eyes to the posibilities. It was round 1997 when i went to my first rave and felt in love with the energy. By 2001 i was making my forst productions and learning at home with my vinyls.

How have your releases inspired you throughout your career?

• One thing is feeling good about some track that you like how it came out, basically imitating influences or learning to achieve a specific sound but when you play a track made by yourself and it gets a positive reaction is when you start learning what to do or what does the dancefloor spects. I think thats the starting point. I really like the idea of not depending of other musician to make a piece and electronic music just deliver that to me.

Do you like to collaborate with other artists? What do you think about remixing? Do you like to remix or do you like to have your music remixed?

• I think one of the main reasons that i felt in love with electronic music is the vibe you get from it. Mathematical sounds generating positive vibrations and in a way that is something that gets amplified when more that one person is getting that experience at the same time. I think collabs are good and a huge bag of posibilities. You get new perspectives, ideas and tools you wont get by working alone. I like remixing a lot, is a different process of rearanging a piece of art someone else did and making my own perspective of th elemenets. but there is a point in the producer career when you have to start choosing your remixes with an industry point of view and prioritize connections aswell as the art significance of the work rather than just taking any request.

How do you choose a title for your tracks? Do you think a well-chosen track and EP title matters?

• I think every production has a meaning whether is a single track, a compilation of tracks or a pakage. I think is more powerfull when the whole bunch has a direction or concept rather than different entities together in the same box but it surtenly is different each time.
  Lately i am naming my tracks individualy but allways in the same direction or influence that inspire my so they all work if putingthem toguether.

Is a well-designed cover important to you?

• Yes. no matter how simple it is is allway part of the same production and should be treated as part of the art inside.

How do you choose record labels (what is a good label for you and what are your expectations)?

• I find difficult to label my music under an specific style so i used to research other artists with similar productions to see which labels they are in… but lately i just get request so after times producing and producing i decide which tracks could go toguether and offer a main demo with extra posibilities and is the record label who chooses theyr favorites. A good label is the one that have great masters and quality whithin their releases, great names and artwork fallowing a line. And as important they mantain contact with the artists beyond the music, think ahead and produce with enough time for a good promotion.

How do you see track sales in the digital millennium data flood (for example: how do you see the digital sales, promotion tracks, illegal downloads etc.)?

• I think that if we want a better scene we have to give the propper recognition to the good art, whether it comes from a big name or a young artists aswell as label. Illigal downloads only help the illigal page or the person downloading the music and takes away all effort label and artist did to make that art happend. In the old days it was difficult to promote labels and to find the music but now with all the digital era and the technology behind there is too much access to any kind of material. I think we have to keep quality over the not so good making it a bit unreachable and let the art do the rest.

What are your future plans for making tracks?

• I am always experimenting and that helps me choose and have a better view from what i trully like to express in that particular moment. Inspiration moments are much important to me and inspiration comes in different ways so is allways changing. Keep true to what you like to feel when listening to a song i would say.

Thank you for accepting our interview request, we wish you much more success in your producer work.

VINYL ► Juan Trujillo – Irreversible

Techno Vinyls Records ’ series of interviews, we talk to producers who have releases on our label.

Interview with Juan Campos

What does producing mean to you? When did you start your music career and what motivated you?

• I have always seen musical production as a different way of communicating, of expressing what we feel at that moment. Well, like every artist I think that the attraction for music starts very early, in my case I jumped into the electronic scene in my region very young, after many years the scene degraded a lot until it disappeared almost completely, so it was the perfect moment to be interested in music production, which is something that always caught my attention.

How have your releases inspired you throughout your career?

• My inspiration is basically proportional to my state of mind and my day-to-day experiences, I am not guided by a musical standard.

Do you like to collaborate with other artists? What do you think about remixing? Do you like to remix or do you like to have your music remixed?

• I love doing remixes, I think it is a great way to contribute your ideas to another concept of another artist, it is something fabulous, in the same way that I also like to be remixed, in short I think that collaboration with other artists is something necessary

How do you choose a title for your tracks? Do you think a well-chosen track and EP title matters?

• Normally I always try that the name of the track and the ep have in the name of something significant that has to do with some event in my life, or some way of thinking specifically about a subject, I rarely let this subject go unnoticed

Is a well-designed cover important to you?

• Always, I love that everything is a perfectly harmonized set, I think it gives a more concrete vision of what is going to reach people.

How do you choose record labels (what is a good label for you and what are your expectations)?

• Normally, as I said in the previous question, I like that everything is very careful, both the graphic and the musical, that they have a regularity and good work dynamics, currently I believe that trau-ma is a label with these characteristics. My expectations today is to continue enjoying what I do but above all to continue improving my music without falling into stereotypes.

How do you see track sales in the digital millennium data flood (for example: how do you see the digital sales, promotion tracks, illegal downloads etc.)?

• I believe that digital sales are a fast way to get music to people, nowadays with the internet revolution and unfortunately with the quality of the sale of physical material, a very wide range has been opened in this sector. Unfortunately there is also an underworld with music piracy, I think this affects the proper development of many labels and artists a lot.

What are your future plans for making tracks?

• As I have told you before, I don’t want to stick to stereotypes and fashions, my main objective is to continue improving my music, and trust that my inspiration remains fresh.

Thank you for accepting our interview request, we wish you much more success in your producer work!

• Thanks to you for giving me the opportunity to express what I think and to be able to convey it to people.

VINYL ► Juan Campos – Arctic Shift

Techno Vinyls Records ’ series of interviews, we talk to producers who have releases on our label.

Interview with Mushtukov

What does producing mean to you? When did you start your music career and what motivated you?

• I grew out of clubbers! In 2010, he began to be subtle about writing music! In 2004 he began to study DJing! In 2006, he began to perform fully in clubs in his country in Belarus! Taught to play only from vinyl!

How have your releases inspired you throughout your career?

• ‘ve always been interested in vinyl records! It’s like hugging your beloved woman. Vinyl is the sound quality! Cool beat and bass. And club music should only be on vinyl. I looked up to many of the world’s artists who inspired me. I have visited many of the world’s raves, namely techno raves. My first rave was MAYDAY in 2006 in Russia in the city of st.Petersburg and from that moment everything went like surfing waves. I fully began to study the world stage, especially Detroid, Berlin, London in techno and house culture! I learned and read a lot of literature. So my knowledge about the origins of techno is very good.

Do you like to collaborate with other artists? What do you think about remixing? Do you like to remix or do you like to have your music remixed?

• Yes, nice to cooperate. Remixes hit the top! Moreover, the development is good, sales and remixes should be with cool and top artists and artists, preferably according to the version of the residentadvisor site. It is necessary to attract many famous and little-known artists so that people develop and want to strive to develop. The main thing is to have time for development. Because sometimes you can’t keep up with music and artists. There are many good artists in the world. I am also one of them. The paired remixes are even better than the original, because young artists are fully invested in remixes

How do you choose a title for your tracks? Do you think a well-chosen track and EP title matters?

• The name comes to mind quickly, because I have been in this atmosphere for a long time. When I write, I already know its name. The process itself and the approach itself are very important for the artist. Buying Agencies should have positive first impressions.
  Labels and booking agencies pay attention to everything. Therefore, there must be a professional approach.

Is a well-designed cover important to you?

• Yes of course. I have personally participated in the creation of the label cover many times. You need to put your soul into music not only. The cover is a reflection of what I wrote in my music. In one of the episodes, I asked my daughters to leave their palms with paints on a sheet of paper. The label calls Sezonas Records a Children release. The cover allowed a subtle approach to the style of the label, because they are all hand-drawn.

How do you choose record labels (what is a good label for you and what are your expectations)?

• I look at the style and style of the labels through deejay.de. But labels need to be designed not only in a certain style. Labels should be flexible, but stick to concept. The main thing is the label’s approach and contribution to its development! It is advisable to look for labels that are engaged in booking artists and their development. Everything on the label should be beautiful and effective. But a lot depends on how you get into the statistics. My plans are to travel the world and play in the best clubs in the world. I want to show what cool guys there are in Belarus in music.

How do you see track sales in the digital millennium data flood (for example: how do you see the digital sales, promotion tracks, illegal downloads etc.)?

• I already said I love vinyl. Digital sales and releases are cool and high quality. I also support them and play. But illegal sale does not mean that it is bad, but also bad. It’s impossible to track down pirates here. But there are also many collectors who value vinyl and sell it for more. I have a lot of digital releases too. Not always a label can afford to print plates.An expensive pleasure, but at the same time a very strong exclusivity, and it’s worth it, it’s nice when the circulation of 100 records around the world and fans, other artists and collectors will exchange them. My personal goal is to support each artist and play in the format that I play, but the release should be a bomb.

What are your future plans for making tracks?

• I have written a lot of papers so far. They are in hidden format. I decided to play with the releases that I didn’t release and get an exclusive so people couldn’t shazam them. There will be new vinyl coming out later, but with recommended music that has already played on my podcasts. I began to study very much how to improve the quality of mixing and mastering in sound engineering. Expect cool and new work.

Thank you for accepting our interview request, we wish you much more success in your producer work!

• Good development to you and thank you very much for accepting this interview.

VINYL ► Mushtukov – Revolution EP

VINYL ► Mushtukov & Konokrad – Luminophore EP

Techno Vinyls Records ’ series of interviews, we talk to producers who have releases on our label.

Interview with Makaja Gonzales

What does producing mean to you? When did you start your music career and what motivated you?

• Music means freedom to me. Freedom to shape expression, creativity, innovate.I started in music in 1983 when I started as a radio deejay for a local small radio station. In those days, you had a lot of radio stations that were not legal, so without a license. It was then tolerated by our government. Later the rules became stricter,and almost impossible to run a radio station. Music has a magical appeal to everyone. You bring music to places in your soul and mind. Music is as old as humanity itself. I grew up in a musical family. My mother played the piano. My brothers and sister always played vinyl, or the radio was always on.
  I grew up in the seventies, eighties. I heard all kinds of music. Funk, Soul, Blues, Jazz, Disco laid the foundation for me what I would later make: Industrial-Dark-Deep-Techno.

How have your releases inspired you throughout your career?

• Each release was a milestone in my career for me. After each new release, the next one followed, and before you know you are so deep in the music that you have grown so far,
  that you have ended up on so many labels, have met a lot of people from the industry, that you are in fact running your own business. Every release you’ve made is a step forward. Music never gets boring, music gets the best out of you.

Do you like to collaborate with other artists? What do you think about remixing? Do you like to remix or do you like to have your music remixed?

• Absolutely. Collaborating with an artist is a challenge in itself. Because every artist can be called unique in his or her turn. Each of them have their own style, production techniques, their own networks. Through collaboration you come into contact with other artists, and that’s how the ball rolls on.I like to do remixes, but I don’t always do it. The reasons for this are that I also want to work on my own productions. It then depends on which artist I want to work with. I only work with people who are reliable, serious. That trust must be mutual. When other artists remix a track of mine, it’s a token of appreciation. I give every good producer (big or small) the opportunity to choose whether they want to make a remix, it is without obligation, but also a show of respect. I am grateful for the artists I have worked with.

How do you choose a title for your tracks? Do you think a well-chosen track and EP title matters?

• I am philosophical. A title is the beginning of a track. The title says it all, it is the introduction of what is to come, but you get to hear everything that happens during the track, like a book tells a story. Titles come out of nowhere and I write them all down. I just have to choose which one to use and start preparing thetrack. I get a title from life, it is everywhere you just look, and you must have a lot of imagination, an open mind, a deep sense of making the impossible possible.I always work from the sameconcept. First the title, only then do I produce, not otherwise. The title creates the track, it inspires me. For example, if the title has a dark name, I immediately know what I want to make, which elements I need to write the story. The same is true if it has an industrial name.I automatically choose which track belongs to the other track for an EP or album. The strength track of the release therefore becomes the title name of the release.

Is a well-designed cover important to you?

• To a certain extent. I like simple, simplicity, but also deepness. That depends on the label. If a label understands what my title says and thelabel anticipates, that’s a bonus.

How do you choose record labels (what is a good label for you and what are your expectations)?

• I now mainly work with labels that have more to offer, where good and well-known names from the industry publish their work. Because it attracts the attention of the public. When you are on a good label, it also attracts the attention of fellow artists, because a collaboration can happen sooner or later. In the past, when I started producing and publishing my works, I took every opportunity to release my works because it takes me more seriously as a producer than juststicking to a few small labels. Larger and well-known labels also means that your own music style is changing, you actually get better at what you do, and that is very motivating.

How do you see track sales in the digital millennium data flood (for example: how do you see the digital sales, promotion tracks, illegal downloads etc.)?

• It is the trend of our time. I notice a lot through the social network that many artists complain about the lack of royalties, or receive too little from giants like Spotify.
  That every in-between person gets a piece of the art from the artist, leaving the artist, creator and producer penniless. That is downright shameful.I see that many of my fellow artists are quitting because of the greedy nature of big money people. Many artists are now looking for alternatives outside the regular giants to make money. The same also applies to the events industry. Small artists are not evenfeatured. That should change, to make talent visible.Illegal downloads are criminal behavior in itself. It is not a sign of respect, but of greed. It is being fought against by various governments in the world. For example, it is a criminal offense to download illegally according to American and European legislation, but the control on this is wafer thin, so that the chance of being caught is very small, the criminal can just go ahead.I’m not talking about stealing a made (published track), the copyright, that another criminal is going to release on his behalf. Unfortunately that also happens.
  It is then a coincidence that you run into it because someone from your network discovers it. Much of that sort of thing escapes everyone’s attention because too much music is released per day, per week, per month. And! if you find out, and the label and artist don’t cooperate, who has the financial means to go to court?

What are your future plans for making tracks?

• I try to experiment as much as possible, try out what sounds good and special, and continue to build with that temporary new concept, because you always have to invent yourself.
  Continue to innovate. Not to be afraid of failure, but to have the strength to dare to be creative and to be different from others.I am currently working on various projects, including the 3rd part of The History Of The World. In addition, my dream is to release more of mymusic on vinyl, such as albums. I also see what the future will bring.

Thank you for accepting our interview request, we wish you much more success in your producer work!

• Thanks for having me here.

VINYL ► Makaja Gonzales – Our Shadow

VINYL ► Makaja Gonzales – Two Tribes