A meticulous, calculated and organic Detroit influenced infiltration permeates this week’s broadcast. Your host has asseverated the fundamentals of innovation through repetition and developing scapes and rhythms without compromising the left of centre ideals that act as an adhesive to every piece of work he constructs. As founder and conceiver of Cyclical Tracks and NET28 as well as working alongside CMYKmusik and Apnea, his motives behind declaring a campaign of electronic espionage are more than warranted.
Displace what we’ve envisaged with an abundance of science and cosmological cerebration and allow the dim lights that traverse the early morning streets of Madrid to dismiss any misconceptions that may arise – imminent projects that encompass alien concepts as well as art based installations across galleries in Europe will redefine our own inspirations.
Our guest – Miguel Sar, Aka: Tadeo.
Kn: Over the last two years we have witnessed the evolution of a newly developed Tadeo sound. Series 03 saw a step away from the groove based techno you were releasing and into a darker, deeper sound, more synonymous with the space bending sounds of Detroit. Was this a natural shift or was there an influencing moment that inspired this new production direction?
T: In fact, it was always my objective! It’s difficult to have enough experience to realize the ideas in your head. Little by little I have obtained this experience and I go slow making new records that represent my ideas much better. There was a time when I didn’t know about artists and labels. I heard very little music because I was very young, had no money to buy it and did not know where to get it. Here in Spain, there has always been a strong commercial music scene and it is easy to miss and not find what you want when you’re young and inexperienced. At that time I already had the music of the space around my head, so the first time that I heard the space sound of Detroit, I said “Hey!! that’s familiar for me, that’s what I have in my head!”. Two years ago I made the decision to forget everything I had done so far and dedicate myself to making music that really defines me.
Kn: The recently released Signal EP on Cyclical Tracks is consistent with you current sound and continues to amalgamate fresh sounds together with cosmic ideals. What important moments influenced the evolution of the label since its inception in 2004? What’s coming up next for the label?
T: When I started the label in 2004 everything was very different, I rediscovered the classic dub sound of Berlin and was very influenced by it. Just then I was fired from my job and my compensation money went directly to make the first reference. It began as an experiment, more or less worked, and this made me go on. I was curious to show several different types of sound and this is why the label is changing in terms of styles and artists. I published many friends, and for many of them was the first experience on vinyl. This made the label somewhat unstable until, finally, I decided that the label would be just for me and other artists that match 100% with my view of music, inspired by the space and the novels and science fiction films. Future releases will follow this path – my next release will be called “futurism” and describes a hypothetical trip to the future and impressions of it. I have also planned out a release of remixes for my series “series” and a new album that mixes techno and classic music.
Kn: Alex Under, Damien Schwartz and yourself, have collectively influenced the current Spanish techno sound by placing diversity and an element of groove back into the Spanish techno sound and local scene. A step away from the more traditional industrial edged take which the country was known for. Tell us about the earlier years when you all broke out onto the circuit together and what it meant to you?
T: Well, it is true that, along with Damian and the other guys, we gave a twist to the Spanish electronic music scene. We all agreed on one particular sound and at first everything was easy and fun, it was like a natural thing. This worked really well for us, we travelled several times around the world playing together and separately, we had many good experiences (bad also) and everyone wanted to have a net28 party in their clubs. But there comes a time when we do not coincide in our message, and one of us could not bear that we had other concerns. This began to create envy and we had to separate. Just at that moment was when I changed my musical message, as I said in the previous question. This change meant both good and bad things. The good news is that now I make the music that really defines me as an artist and I feel very at ease every time I finish a new track, the production rate is great and I’ve accumulated more than 100 new tracks that I use in my sets. The bad news is that most promoters do not like my music because it’s not very commercial, it’s not like the music from the time of net28. Many people tell me “hey, make a record like ‘garnate granada’!!” and things like that. They want a Tadeo closer to the fashion sound of the moment, but that can’t be, so my number of gigs has lowered drastically – I miss waiting in airports.
Kn: For a well respected artist with well over ten years of exposure in the global scene, there hasn’t been a great deal of direct media contact. Has that been a consciousness decision to maintain a sense of enigma or has it just played out like this for you?
T: Never been my intention to stay away nor be within a mystery… simply, I’m not interesting for the media. Perhaps because my music is not easy and for quick consumption, you must take a little time to understand [the music] and that’s hard living in the society we live – fast consumption and little reflection. I think this answer must really come from the media. They know why I’m not interesting to them. It may look easy to use and throw around idols, looking for the cool. Some people have no life and need something to want to be that they are not or can not get. I have the respect of many artists and small media, for now I’m content with that. Gradually, without haste, the more solid mineral formation takes a long time, but when it does it is a gem.
Kn: What’s on the horizon for yourself and what goals have you set in place so when you look back you can say you’re happy with how things eventuated?
T: The future is always a good thing because it represents a time when things are coming true and for my future I have several plans. The first is a new label called “Another Intelligence” based on a hypothetical options meeting with an extraterrestrial intelligence, the wisdom that we can bring us, and the knowledge they can share. I am also working on a new installation of Luis Buñuel’s classic film “le chain andalou” creating new and unique music in 5.1 format, the video will be based on three-dimensional mapping and all will be aimed to festivals, museums and art galleries. The last thing I have in hand is to join to another big name of the Spanish scene, a DJ named “Angel Molina”, to make a couple of records together and do a world tour featuring a new type of DJ performance. He is one of the people with more respect and musically I feel more affinity. I guess I can also mention the future plans for all the new music that will be published on my label “cyclical tracks” of which I am very proud.