It takes a lot to impress people in this scene as the years pass us by but Andrea Deplano has done it seamlessly of late, more so than ever. It’s even harder to find someone with a warm outgoing attitude, and the ability to convey it goes a long way to securing a kind of exposure that’s derived from having a genuine love for building the community, as opposed to tiring grabs for attention. It’s an event in it’s own modest way, and it’s this perspective that’s been the uncompromising basis for his success across Phorma, Synewave, M_Rec Ltd., Informa & Prologue. That’s even before touching on his own imprint Mono as well as a fresh project alongside Scam. and Alessio Pili titled ‘Frames of Thought’.
Above all the noise and traffic of mediocrity, inbound collaborations alongside Claudio PRC, Deepbass, Jeroen Search as well as remix duties will litter the remainder of the year. We’d also strongly advise getting yourself along to the Artmospheric Festival where he’ll line up with Donato Dozzy, Monolake and Brando Lupi & others in the West Balkans mountains. Deep space exploration and subterranean tunnel surveillance would be an accurate summary.
Ness drives Kana Broadcast 040.
01. Michael Mantra – A Stream Version III ( Sonitus Eco Remix )
02. Akamoi – Enki III
03. Exium – Novakron
04. Traversable Wormhole – Worldline (Orphx Remix)
05. PVS – Rome Is Burning
06. Manu C. – Afraid Of Reality
07. Attemporal – Att4 (Future16 Remix)
08. Abdulla Rashim – Semien Terara 2
09. Claudio PRC & Ness – Alchemist Of The Planet X
10. Vatican Shadow – There Was A Black Banner On The Floor
11. Kangding Ray – Tempered Inmid
12. George Paar & Giorgio Gigli – Life Is Not Dead Yet (Giorgio Gigli Variation)
13. Kirk Degiorgio – Borel (NX1 Remix)
14. The Parallel – Epoch
15. Hironori Takahashi – Jazert
Kn: There’s quite a lot of you guys who have been making big waves in the heavy space fuelled techno from Italy in recent years. How’d you get to where you are musically?
N: Yes, I can say that nowadays I find a lot of interesting producers. The field in which I move on now is the result of several years of exploration and experimentation which led me to have a more refined sound and in which I rely completely. I looked out to Techno music relatively late, the first approach to production dates back to 2005-06, but I’ve listened to a lot of music even before throwing myself into djing. I also believe that staying within a certain musical context you always need to invest time and energy in listening to many tracks, especially those coming out from the pioneers in this genre. There are many artists who have influenced me through the years and also discovering new talents occasionally motivates me to push forward and contribute to the growth and evolution of the Techno scene.
Kn: We had a brief chat last week and the topic came up about the importance of a “family orientated” professional environment. What model do you think works best as far as dealing with labels and agencies is concerned?
N: Being able to work with people I know personally definitely has advantages. But I think it’s very important not to mix friendship with work because often you find yourself taking difficult choices that go beyond being friends. I’m lucky enough to cooperate with people whom I have a great respect and the important thing is that for any problem we find ourselves discussing it calmly and intelligently. In response to the original question honestly do not know what is best, I think it’s a personal choice.
Kn: There’s also a number of quality techno producers who have a background in sound engineering in the context of study, which doesn’t come as any surprise. A lot of younger punters may consider it a viable path. What did it teach you that you use in your own music now?
N: Although for a short time, I believe that the studies I’ve done in sound engineering have helped me to approach music according to certain criteria. When it comes to electronic music, there are theories which are not fully applicable as they are for example in pop music. However in electronic music you have more space for experimentation and you are able to push yourself into unexplored territories, which is one of the strengths of this music.There are a few basic rules you should know when you open a sequencer or when you turn on a synthesizer, awareness also to know what you are going to modulate, boost or cut … but there is also one component of unconsciousness which often brings unexpected results … one of the reasons I love doing this music!
Kn: …while we’re on production, how are you feeling at the moment with any fresh tools and/or gear that’s around?
N: Given the fact that my current setup is very small at the moment (Ableton Live / Akai APC40 / Maschine), I think it’s always an extra motivation to deal with new tools and technologies. Over the years I’ve tried to optimize my resources to the maximum with the digital tools that I use. In the past I had few analogue equipment however now I work exclusively in digital and overall I am quite comfortable with that, but I think that soon I’ll go back using some synths or grooveboxes. I’m considering this if I would ever perform a live set, I’d get something more than just a computer and a controller to tweak.
Kn: Looking out a bit further too – any visual projects, tools and/or ideas you’ve been playing around with? Does it have an important role with techno as we continue to push forwards with presentations?
N: Currently I have no projects related to visual arts that concerns me personally. I can say that it has always been something that interests me but I didn’t have the time and chance to explore it properly. I think that combining music with visuals is something that enhance both and strengthen the message coming out. I can say that even in Techno lately a good video preview for a new release creates expectations around the project. What my friends NX1 are doing is an example of what I mean – for every new record they have conceptualized a video that fully represents their aesthetics.
Kn: …any thoughts on music for film? Any ideas of your own you’ve harboured?
N: Music for film…for a while I thought of this as a new challenge, something pretty exciting, but I think it requires an effort truly remarkable. Let’s see in the future … who knows?
Kn: The important stuff. Any news we should know about regarding tours, music and life in general?
N: Yes, at the moment I’m still busy with collaborations which I started some time ago, and I have as upcoming releases 2 Ep with Claudio PRC on Cannibald and Phorma , 1 album as The Gods Planet on On2sides, 1 track in a V/A with Deepbass/NX1/Jeroen Search on Informa Records, then several remixes for Alessio Pili on Gynoid, Sonitus Eco on his new label Haar Records, Gianluca Angelini on C.R.S. and for Woo York made together with Deepbass on Planet Rhythm. About gigs there are two important nights in the schedule, I’m going in Barcelona for the night managed by my agency Rising during the Sonar Week on 13 June playing on a special back to back with Deepbass, and I’m really looking forward to 12/13/14 July for my first appearance at Artmospheric Festival near Sofia in the West Balkans mountain where I will share the dj booth with some nice guys as Donato Dozzy, Monolake, Brando Lupi and Eric Cloutier among the others!