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Andrei Poliakov Interview on Nagamag

Categories: Features, Interviews, Neoclassical Features, Neoclassical Interviews, The Latest|Tags: , , , , , , |

Andrei Poliakov
Interview

.


Nagamag:
What are the genres that describe better your music style?

Andrei Poliakov:
The foundation of my works is a well-educated neoclassical, romantic soundscape, but as soon as the music begins, it starts looking for cross-over opportunities to develop into an exciting house-party, jazz, pop, or electronic music, all these easily transforming to warm classical follow-ups – hence the eclectic style which I hope helps me tell better stories without words.
Essentially, I treat a musical genre as an additional color for the compositions, like seasoning in food; these colors help me get the emotions across and tell the stories to the listener with better precision and stronger impact:

I do not feel bound by a genre or a style, and instead I use and abuse the variety of styles to paint a deeper and more colorful, meaningful musical picture. Nevertheless, the Piano is always staying as a centerpiece of my compositions as I believe the richness and diversity of sounds of the “king of music” easily trumps any other instrument I know


Nagamag:
Few words about your musical background and career?

Andrei Poliakov:
I am a professional musician, composer and producer, received a fundamental classical music master education as a pianist and an oboist in Russia, and then continued with the professional musical career performing with world-renowned orchestras. Later I diversified my musical taste and capacity into jazz, rock, and pop genres, performing and recording with various bands and solo.
Since 2012 I have been living in Switzerland, Geneva, engaging into various professional activities both in artistic and business domains.


Nagamag:
Do you remember your first connection of love to music that was the right impact to be a music artist now?

Andrei Poliakov:
I started learning piano at a very early age of 3 or 4 years old: my parents are pianists and music has always been in the center of my life.
When I was in school (yes, seriously underage…) my favorite pastime while cutting lessons was to grab a couple of friends, buy a box of beers, go to a nearest abandoned building (which we had a lot in Russia in the 90s), sit down on a window sill, take a sip of a cold one, and put the 6th symphony by Tchaikovsky, or the 2nd (no, 3rd… any of them!) Rachmaninov’s piano concerto on a Walkman and basically drown in emotions and thoughts… and beer.

Hence, the music that has influenced me the most, comes from the second half of 19th – first half of 20th century – and I must admit, most of it is Russian music or music with Russian roots. Rachmaninov, Tchaikovsky, Skryabin, Mussorgsky, Rimsky-Korsakov, Prokofiev, Shostakovich, Stravinsky – but also Mahler, Bruckner, Richard Strauss – these composers influenced my taste the most. Depth of thought, wide array of emotions, unimaginable soundscape and extremely clever and elegant arrangement solutions; beautiful harmonies and melodies…

Being a teenager, I of course dived into the world of rock and pop music, starting with The Beatles - the band that still remains my all time favorite, and all the usual suspects: Queen, Michael Jackson, Metallica... and this journey continues to date.


Nagamag:
Is there a story behind your latest release "Moonlight" and would you like to share it?

Andrei Poliakov:
I dedicated this short piano essay to the Moon and to the most beautiful village in the world: Céligny - a tiny little place in Switzerland, where I live.
Céligny is inhabited by incredibly kind, smart, and very warm people, has an unbelievably rich and beautiful nature, and stunning views along with very old historical houses drowning in floral multi-coloredness, and there is #MontBlanc 🏔 on the horizon... and don't get me started on the birds' chirping and singing...

Once it was a home for Elizabeth Taylor and Richard Burton, the latter is buried in the old cemetery of the village.

Céligny is an unfathomably cozy place on this planet, and I feel very blessed to have had a chance to engrave my very intimate memories of this village.

I have actually composed the Moonlight in the heart of a former water mill!

And then one early morning in February I woke up and couldn’t fall asleep again. I decided to go for a walk and took along a video camera, and there was a full Moon in the skies! I was so enchanted and intrigued by mysterious flair of that morning that I couldn’t stop the camera running - and then I decided to use some of that footage for the video of this track.


Nagamag:
Is Moonlight going to be a part of a bigger project you are working on right now?

Andrei Poliakov:
Yes, this new solo piano release “MOONLIGHT” is continuing to form my live album “Moonlight & Sunshine”, and it follows the previous releases of 2020: “Declaration of Love”, “Lullaby”, and “La Promenade in Paris”
The “Moonlight & Sunshine” album has an uncommon approach for the neoclassics genre: every next release features 2 different versions of one motive, coming to life as a piano solo piece, interpreting a narrative in the moonlight, and as a fully arranged piece, revealing the same story under the sunshine.

The album has been evolving live on the major streaming platforms as a playlist (Spotify, Apple Music, YouTube and others), thereby gradually forming the full album as new pairs of tracks are released.

The album Moonlight & Sunshine on Spotify: https://open.spotify.com/playlist/3MCyNWldBXCbZdLKehspn2?si=882c2e2dc09d4074

In a few weeks I am planning to follow up and release the fully arranged track called "Sunshine", which is inspired by the melodics of Moonlight, but features a duet of piano and violin (played by a very talented violinist from Russia) and other instruments.


Nagamag:
Most artists have a favorite song from a different music genre than the one they are producing music for... Which is yours?

Andrei Poliakov:
The Beatles "Here comes the Sun"


Nagamag:
Of Course Nagamag would love to listen also which track from a similar artist you admire?

Andrei Poliakov:
Ludovico Einaudi Una Mattina

Discover & Listen to Andrei Poliakov

Andrei Poliakov on Spotify

Andrei Poliakov's Signature Track

Andrei Poliakov on Social Media

funkypianoplay
funkypianoplay

Andrei Poliakov's Website

www.funkypianoplay.com

Rohne – Ceres (Spotify)

Categories: Audio, Electronica, Electronica Features, Features, The Latest|Tags: , , |

Rohne – Ceres
(Spotify)

“Rhythm is our everything. It makes the heart pump blood through the pulsating veins. The polyrhythmy in the track -Ceres- just drives you crazy, and the rich ambient layers immerse you as if in a thick substance, where you dissolve and melt ...”

“Ритм наше всё. Он заставляет сердце гонять кровь по пульсирующим в такт венам. Полиритмия в треке -Ceres- просто сводит с ума, а насыщенные слои ambient погружают тебя словно в густую субстанцию, где ты растворяешься и таешь...”

-Nagamag.com

Over a year since his last release, Rohne breaks the silence with “Ceres” — a blend of lush ambience, foley recordings, driving sub, and broken house rhythms. The emotive yet expansive track seems to act as the perfect departure from his debut album, taking his sound gently into a more club oriented direction.

Stream/download link here: https://ffm.to/rohne-ceres

Originating from the mountains of the Pacific Northwest, electronic producer Rohne (Keenan Branch) has spent recent years honing his craft while traveling the world with a laptop, headphones, and field recorder. The culmination of ideas and inspirations captured at his home studio, mobile set ups in India, and places in-between, now lead to the release of his debut work Meridian. The album represents the blooming of a bond between Rohne, his art, and the world around him. Drawing influences from a wide range of genres, lush, organic and ethereal sounds, Rohne’s nuanced style of electronic music is an intimate and immersive experience of its own.

https://www.rohnemusic.com/

LukHash, Meredith Bull – Dying Breath (Spotify)

Categories: Audio, Blogwave, Blogwave Features, Features, The Latest|Tags: , , , , , |

LukHash, Meredith Bull – Dying Breath
(Spotify)

“A mysterious and truly memorable piece. -Dying Breath- combines the melody and rhythm of dark and synth wave, in which the union of electronic, experimental and neo-gothic music makes this track neo-romantic of the 21st century. Definitely in the collection!”

“Загадочное и по-настоящему запоминающееся произведение. -Dying Breath- сочетает мелодику и ритмику dark и synth wave, в которой союз из электронной, экспериментальной и неоготической музыки делает этот трек неоромантикой 21 века. Однозначно в коллекцию!”

-Nagamag.com

LukHash returns with a darkly atmospheric, retro synth track featuring the ethereal vocals of LA-based artist, Meredith Bull. ‘Dying Breath’ is the final single released from, ‘We Are Stardust’, the new album from LukHash, forthcoming April 9th on influential, retro synth label NRW Records. The classically trained musician from Poland, now Edinburgh-based, is making waves with his innovative blend of modern electronic music production, 80’s nostalgia, dystopian cyberpunk and retro arcade gaming culture. His fanbase is global and growing fast with his last two albums topping the electronic sales charts on Bandcamp (with ‘Transient Offworld’ hitting #8 in the overall Bandcamp sales chart). His music has broken the 10 million streams barrier on Spotify, while videos of his experimentation with custom-modified Commodore 64 computers and hacked, original Nintendo Gameboys went viral on YouTube (and more recently TikTok). LukHash is an exciting and creative artist set for big things in 2021. ‘Dying Breath’ is out now on NRW Records – stream / download here: https://lukhash.lnk.to/DyingBreath.

LukHash embraced the nostalgia of the 8-bit and 16-bit machine-generated sounds of the old Commodore 64’s and Nintendo Gameboys that he grew up listening to. Together with the 80’s pop and rock his parents loved, these influences became a significant part of his music as he began to fuse them with his contemporary productions. He became fascinated with the classic computer sound chips and shared videos of his ideas to his YouTube channel which took on a life of their own, as retro synth fans, ‘chiptune’ fanatics gamers and electronic music lovers across the world joined him in his obsession. With his skills honed LukHash now has a unique sound which he sometimes describes as ‘Chipwave’ – a fusion of synthwave, chiptune and modern electronic music.

Meredith Bull is a hugely talented artist, going viral on her own accord thanks to a creative and amusing TikTok presence, where she has now reached over 2.5m likes for her creations. She has collaborated with artists including Elijah Kelley, LSDream, and Taylor Kade. She first joined forces with LukHash last year on ‘Big In Japan’, a cover of the 80’s Alphaville classic, which was so well received that the duo have been working on more collaborations, starting with ‘Dying Breath’ – watch this space!

‘Dying Breath’ pulls the listener into a futuristic world with big chords, a jagged synth bass and acid riff creating a sense of flying through the unknown. The retro electronic beats drive things forwards while Meredith Bull’s angelic, almost dreamlike vocals add to a deeply emotive track. The chorus keeps building with the strength of a classic power ballad adding to the dystopian imagery, but somehow the track is still infused with hope for the future.

‘We Are Stardust’ will be LukHash’s ninth album underlining how prolific this artist is. NewRetroWave is recognised as the key driving force behind the burgeoning retro synth scene and NRW Records is the ideal label for LukHash. NewRetroWave has provided a platform for every significant artist creating this sound at some point as its YouTube channel has grown to over 1.13 million followers.

LukHash’s musicality is undeniable but his desire to create something new while so clearly enjoying his influences makes him an artist who stands out. His futuristic, cyberpunk vibe has roots in the sounds of an electronic past. LukHash’s music is connecting across the generations and excitement for his new album continues to grow.

https://www.instagram.com/lukhashdotcom

Mythos Interview on Nagamag

Categories: Electronica Features, Electronica Interviews, Features, Interviews, The Latest|Tags: , , , , |

Mythos
Interview

.


Nagamag:
What are the genres that describe better your music style?

Mythos:
Mythos is electro-acoustic music featuring beats, synth, acoustic guitar, piano and vocalese. Mythos was signed with new age label Higher Octave Music during the 1990s and early 2000s.


Nagamag:
Few words about your musical background and career?

Mythos:
For 25 years, Mythos has been creating timeless, ethereal music fusing electronic beats with vocalese, piano, acoustic guitar, synths and sounds from around the world. 2021 marks the 25th Anniversary for the duo of Bob D’Eith (producer and piano) and Paul Schmidt (acoustic guitar) with special guest performances from Jennifer Scott (vocals), Jasmin Parkin (vocals), Rene Worst (bass), Pepe Danza, (percussion), Niko Quintal (percussion) and many others.
Bob’s father spent many years trying to convince him to work with his brother’s talented friend Paul. When Bob was trying to create music for film and television, he teamed up with Paul to co-write together. As Bob and Paul started producing music and working with Vancouver session players Jennifer Scott and Rene Worst, it became apparent that they had created something special. Mythos was born. In 1996, Mythos released the “Introspection” EP independently. The first single “November Dance” (in instrumental dance track with no lyrics) was released and much to the surprise of the artists became a commercial radio hit and retail success. “Introspection” went on to win a WCMA Award and was nominated for a JUNO Award. “Introspection” was picked up by a Bay area label entitled XDOT25 and released internationally.

The second release “Iridescence” was released briefly in Canada, however Max Amadi from XDOT25 pitched Mythos to the Malibu based label Higher Octave (Virgin/EMI0). Max’s suggestion of the pairing of Mythos with the brilliant fine artist Gil Bruvel led Higher Octave to release the 16 track self-titled “Mythos” (1998) that went on to be released in 33 countries and sell in the high five figures. Hot on the heels of the success of “Mythos”, Higher Octave released “Reality of a Dreamer” (2000) and “Eternity” (2002). Mythos spent years in the Billboard charts and was added to many essential compilations in the time. Mythos was also used for “Victoria’s Secret” Cannes runway production during this time. Mythos won a second WCMA award during this period.

Once Higher Octave merged with their parent label, Mythos moved over to Alula Records/Allegro (Oregon) releasing “Purity” (2006) for the world less Canada that was retained by Adagio Music/Pacific Music/Warner. For a few years, Paul went to Korea to teach English and Bob developed his career building Music BC (a non-profit music industry association) and his entertainment law practice. In 2012, Bob and Paul re-united for the album “Journey” released through Adagio Music/IODA (2013). In 2014, Adagio Music released a “best of” series of Mythos tracks including a special Vinyl release. A new Album “Journey” (2018) was released on Adagio/The Orchard.

2021 is Mythos’ 25th Anniversary and this year we are pleased to release “XXV” a 14-track album including 5 new tracks and 9 fully remastered classics. The lead-off single “Legacy” featuring Cam Blake (Bob’s son and Indie Rock artist in his own right), uses progressive rock and electronic elements and was produced with returning performances by Jennifer Scott and Rene Worst. “Fly Away” is going to please many Mythos fans, getting back to Mythos’ musical roots. “Bonum et Malum” explores the dichotomy between good and evil, sadness and joy. “Progression” is a piece that evolves through the addition of ever complex melodies, all woven together into a tapestry of sound. “Recuerdos de la Alahambra” originally composed by Francisco Tárrega and arranged for guitar and strings by Mythos, features a beautiful classical guitar performance by Paul Schmidt. The balance of the tracks (November Dance, Brazil, Planinata, Alchemy, Ascent, Icarus, Surrender, Eros and Spiritus) are a selection of Mythos’ most enduring tracks from previous albums fully remastered for the digital environment.

Mythos continues to have a large following around the world with over 2 Million streams a year from over 90 countries.


Nagamag:
Do you remember your first connection of love to music that was the right impact to be a music artist now?

Mythos:
From Bob. In pre-school my teacher recognized my rhythm while playing toy drums. I was very fortunate to have had amazing mentors when I was young who inspired my love of music. This has lasted my entire life.


Nagamag:
What is special this year?

Mythos:
2021 is the 25th Anniversary for Mythos. Bob D'Eith and Paul Schmidt have been partners in this amazing project for all this time, creating timeless, ethereal music that defies genre.


Nagamag:
Why do you think that the project has lasted so long?

Mythos:
From Bob, for me it is a question of balance. If I am not creating, I don't feel alive. Mythos has given both Paul and me a great outlet for our expressions over the years. I really cherish that.


Nagamag:
Most artists have a favorite song from a different music genre than the one they are producing music for... Which is yours?

Mythos:
Miles Davis "So What"


Nagamag:
Of Course Nagamag would love to listen also which track from a similar artist you admire?

Mythos:
Enigma "Return to Innocence"

Discover & Listen to Mythos

Mythos on Spotify

Mythos' Signature Track

Mythos on Social Media

mythosmusic
mythosimages
mythosmusic

Mythos' Website

www.mythosmusic.com

Matan Arkin Interview on Nagamag

Categories: Electronica Features, Electronica Interviews, Features, Interviews, The Latest|Tags: , , , , , |

Matan Arkin
Interview

.


Nagamag:
What are the genres that describe better your music style?

Matan Arkin:
A mix of Folk and Electronic


Nagamag:
Few words about your musical background and career?

Matan Arkin:
Drummer,dj,pianist


Nagamag:
Do you remember your first connection of love to music that was the right impact to be a music artist now?

Matan Arkin:
Bach, Minuet


Nagamag:
Most artists have a favorite song from a different music genre than the one they are producing music for... Which is yours?

Matan Arkin:
Dino Valenti "Children of the Sun"


Nagamag:
Of Course Nagamag would love to listen also which track from a similar artist you admire?

Matan Arkin:
Thom Yorke "The Eraser"

Discover & Listen to Matan Arkin

Matan Arkin on Spotify

Matan Arkin's Signature Track

Matan Arkin's Website

soundcloud.com/matan-arkin

Vocalizer – Overthinking It (Video)

Categories: Features, Pop, Pop Features, The Latest, Video|Tags: , , |

Vocalizer – Overthinking It
(Video)

“It’s not always easy to make decisions and we tend to overthink many different things. A truth that is mentioned via Vocalizer’s new song. The Electro Pop hit that can change the way you face reality and give you the power to go on.”

-Nagamag.com

Vocalizer is an exciting new pop project that sees four Music Industry friends teaming up to create massive, engaging records. With emotional, hook-drenched songs that instantly resonate with audiences worldwide, the power of their writing and production is undeniable. Vocalizer is Paul Visser, Ria Jaggard, Peter Ruppert, and Hugh Goldsmith, one of the world’s most successful A&R executives, credited with over 20 number one records with artists as Take That, Blue, Atomic Kitten, and Billie Piper

https://www.instagram.com/vocalizermusic/

Sacha Hoedemaker Interview on Nagamag

Categories: Features, Interviews, Neoclassical Features, Neoclassical Interviews, The Latest|Tags: , , , , , , , |

Sacha Hoedemaker
Interview

.


Nagamag:
What are the genres that describe better your music style?

Sacha Hoedemaker:
Cinematic Piano.
Often, his music is compared to film scores. Soundtracks.
Atmospheric Piano.
There is always a story in his music. A universal story.


Nagamag:
Few words about your musical background and career?

Sacha Hoedemaker:
Sacha started playing piano at the age of 8. After two years of piano lessons, he quit. Thinking; this is not for me.
Then he was cast as a musical accompanist at the age of 14 in a school musical. He fell in love with musicals and wanted to learn everything there was about musical theory. How were songs built up and what were recurring patterns, etc. He quickly realized that he had a good ear and started exploring different genres. After a couple years he was playing professionally for semi-pro singers as well as in theaters and restaurants as a background pianist. Always listening to how his music had an effect on the room.
This skill then became useful when he tried improvisational theater. He scored scenes with the same ears as listening to a busy restaurant. What is needed in order for the 'audience' to have a good time. Connecting music with emotions and stories. That's what makes him a highly sought after musical director.
Sacha is now a musical improviser. Envisioning a story and letting go of all that is distracting, through meditation and mindfulness. Using all his gathered knowledge about music in the last decade, and focusing it on his craft by creating a listening experience. On a daily basis, he plays for Europe's biggest improvisation theater called Boom Chicago. He graduated from the Abbey Road Institute in Amsterdam in 2020 and currently is running a growing home-studio called The Music Maker. At the start of 2020, he was looking for more creative outlets and he joined several collaborative projects, one of them resulted in an Emmy win. (#CreateTogether) He is the pianist for Dr. Peacock (in Concert).
He started releasing music during the pandemic, in August 2020, and has been growing his presence on the classical piano market ever since.


Nagamag:
Do you remember your first connection of love to music that was the right impact to be a music artist now?

Sacha Hoedemaker:
Yes, after I had discovered that I could play anything.. I took on the challenge of learning Rhapsody in Blue by George Gershwin. It took me a full week, but I managed to do it. I couldn't contain myself and kept playing new songs every day. From Classical to Pop and from Jazz to Gabber. Seeking to challenge myself, was a driving factor for me to keep coming up with, and taking on creative projects.


Nagamag:
What is your goal in terms of music?

Sacha Hoedemaker:
It has been a dream of mine to score a full feature film, as a composer.
Starting small, my initial goal is to create several cues, or score a short film. Help conveying a story in any way that I can. Too many stories are silenced, I see it as a my calling, to help tell some of those.


Nagamag:
Most artists have a favorite song from a different music genre than the one they are producing music for... Which is yours?

Sacha Hoedemaker:
Vulfpeck "1612"


Nagamag:
Of Course Nagamag would love to listen also which track from a similar artist you admire?

Sacha Hoedemaker:
Elliot Jacques "Kaleidoscope"

Discover & Listen to Sacha Hoedemaker

Sacha Hoedemaker on Spotify

Sacha Hoedemaker's Signature Track

Sacha Hoedemaker on Social Media

sachahoedemakerofficial
sachahoedemaker
sachahoedemaker

Sacha Hoedemaker's Website

linktr.ee/sachahoedemaker

Alberto Rizzo Schettino Interview on Nagamag

Categories: Features, Interviews, Neoclassical Features, Neoclassical Interviews, The Latest|Tags: , , , , , , , , , , , , , , , , |

Alberto Rizzo Schettino
Interview

.


Nagamag:
What are the genres that describe better your music style?

Alberto Rizzo Schettino:
I write original music for film and video games. I play piano and keyboards and in the years I have gathered quite a collection of synthesizers, guitar amps and FX pedals. This definitely drives my music towards those instruments as I like to mix elements of electronic music (ambient, downtempo, glitch etc.) with more traditional orchestral instruments (strings, brass, percussion) and ethnic sounds from Africa and the Middle East. I try and mangle these original acoustic sounds from world music to be 'assimilated' by the machines, while still retaining their contrasting features. I try to maintain a delicate and constant fight between an industrial, cyberpunk and somehow dystopian sound palette and a more organic, classical setup with roaring strings and epic orchestral elements. I guess a lot of my work with techno artists and the club scene plays a role in what I imagine would be the sound of the streets and the underground in a distant future.


Nagamag:
Few words about your musical background and career?

Alberto Rizzo Schettino:
I've worked as a pianist/keyboardist for artists, bands and recording studios, mostly as a session musician. I've had my good share of live gigs in rock, acid jazz and fusion setups in which I would bring my keybards, guitar amps and guitar pedals and kinda force the stage to accept my sounds. I am not a fan of playing 'realistic instruments' live, and unfortunately you can achieve pretty good ones these days with keyboards.. but for me it's either acoustic piano, vintage keys or straight up synthesizers and mangled sounds. There's no in-between. In 2007 I opened my own recording studio, called 'Fuseroom' and I started producing records and keeping the facility open to music education programs. In the past years I went back to my role of composer and joined some game development companies (among which were some good friends of mine, from high school) to write original music for their video games. Getting back to writing music by myself was an adventure and somehow reconnected me with an artistic self that I had kept asleep for a while. It was a good time to get back at it and I was able to use this momentum to release a new solo record, called 'Future in the Past', highlighting some of the most iconic elements of my sound and songwriting, in the soundtrack genre.


Nagamag:
Do you remember your first connection of love to music that was the right impact to be a music artist now?

Alberto Rizzo Schettino:
As a kid I was lucky to have friends who one day told me on the phone: "We're making a band. What do you want to play?". It was that simple. We wanted to move from air guitars and air drums using broomsticks and empty soda bottles to playing for real. I looked around, I had a small digital keyboard I had been playing since I was in primary school and decided that I wanted to play piano and go to a real teacher. I started both classical and modern piano together and never stopped taking lessons from the day. At around 18 I felt like I had to choose and was captivated by modern music. I've played in pop/rock bands, jazz ensembles, small freestyle and acid jazz bands etc. especially when I moved my beautiful (but small) town of Firenze (Italy) to continue studying in Los Angeles. I cannot remember how many people I've played with and whose projects I joined. From there on I kept on studying, moving cities, attending to more music academies in the US and in Europe. If there was one constant that never left me is that I do not partake in projects that I do not like. I just cannot do it. I've studied to be a professional musician and I am happy to provide others with my expertise but I have to hear some kind of pulse in the project. Exposure, fame, money, you name it.. they just do not cut it in the end as I cannot go to sleep and look at myself in the mirror if I am doing something I do not genuinely and directly enjoy. I guess that spontaneous phone call from my friends when we were kids really left a mark.


Nagamag:
Is there a cliché or recurring pattern in the way you come up with a new piece of music?

Alberto Rizzo Schettino:
With the passing of time (and things become more recurring or fixed, with deadlines, revisions, team discussion, production supervisors and so on) I noticed that I start working on a song only after I can hear it in my head 'enough', over the course of a couple days. It is kinda funny to say that but once I receive the initial brief for a new music project and the team or production sends me guidelines for the vibe they are looking for, I do not sit at the instrument and try to put down ideas. I just let things breathe for a couple days and I start thinking about a tune. It might happen at the worst time or before falling asleep. If the idea is good, in a couple days I can always recall the main theme and at least the B-section that answers it. That is usually the right time for me to sit down, turn my computer on and start writing music.


Nagamag:
If you only had to keep one musical instrument, what would it be?

Alberto Rizzo Schettino:
This would be very challenging. I certainly consider the acoustic piano as my foundation but I have so many instruments that I like for their specific sound palette, some of which have almost healing properties when played, in my opinion. I would have a very hard time parting from my Voyager, Polysix, Juno-6 and Hammond, as well. Please do not make choose! ;)


Nagamag:
Most artists have a favorite song from a different music genre than the one they are producing music for... Which is yours?

Alberto Rizzo Schettino:
Andy Summers Mysterious Barricades


Nagamag:
Of Course Nagamag would love to listen also which track from a similar artist you admire?

Alberto Rizzo Schettino:
Ola Strandh Tom Clancy's The Division (Original Soundtrack)

Discover & Listen to Alberto Rizzo Schettino

Alberto Rizzo Schettino on Spotify

Alberto Rizzo Schettino's Signature Track

Alberto Rizzo Schettino on Social Media

albertorizzoschettino
alberto__rs

Alberto Rizzo Schettino's Website

www.albertorizzoschettino.net

Son Lux — “A Different Kind of Love” (Official Visualizer) (Video)

Categories: Electronica, Electronica Features, Features, The Latest, Video|Tags: , , |

Son Lux — “A Different Kind of Love” (Official Visualizer)
(Video)

“”A Different Kind of Love” by Son Lux steps into diversity with not afraid to improvise into new sound design styles, out of the basic vocal trends. Deep heartwarming vocals with a deep artistic sound design which pushes out your hidden emotions and satisfy your listening needs. High quality here! ”

-Nagamag.com

Much has been said about the scope and intent of Son Lux’s multi-album Tomorrows project. Born of an active, intentional approach to shaping sound, the music reminds us of the necessity of questioning assumptions, and of sitting with the tension.

Today they announce the arrival of Tomorrows III, set for an April 16th release via City Slang. Bell tolls of a detuned guitar clang out a warning at the start of “A Different Kind of Love”, the new single out today. Thick punches of percussion enter and the song moves in heaves through a foggy atmosphere of sound. Instruments remain mostly out of focus, but in brief moments, flurries of strings and woodwinds emerge and recede from the fog.

The music encompassed on Tomorrows provides an appropriate parallel for the sustained cacophony of the present moment, advancing a friction that reveals the strange in the familiar and the familiar in the strange. The deluxe physical edition of the Tomorrows series will be released July 30th on City Slang.

https://sonluxmusic.com/
https://www.instagram.com/son_lux/
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ill-esha, K+Lab – Simplicity (Spotify)

Categories: Audio, Electronica, Electronica Features, Features, The Latest|Tags: , , , , |

ill-esha, K+Lab – Simplicity
(Spotify)

“Judging from the title you may expect a simple sound mix, but the truth is very different! After a soft intro there's a blast of breaking loops that follow each other in electronic madness. Discover the rare talent of ill-esha via "Simplicity"!”

-Nagamag.com

Joining forces for their first collaborative effort, K+Lab and ill-esha unleash sublime two-track EP, Simplications. The project finds the two distinctive keytar-wielding artists come full circle to their drum & bass origins as they now put their creative synergy to work in a boundless and experimental release.

Rattling sound design and slithering sonics paves the groundwork for “Complications,” which weaves syrupy vocals over intricate layers. Counterpart “Simplicity” also employs a similar frenzy of syncopated rhythms for its halftime structure, witnessing ill-esha & K+Lab come together for a dreamy, cacophonous paradox.

Fanlink: https://wstwd.io/simplications

New Zealand-born master of intergalactic funk, K+Lab has been rocking dance floors and bringing the beats to the masses with his signature keytar in hand. K+Lab's sound draws from a seemingly endless array of influences from soul to jazz, hip hop to drum n’ bass, glitch to G funk—all tied together by an orbital pull of all things funky. His incredible live performances are unlike anything else occupying the sonic landscape today and have seen him conquer dancefloors across the globe with unmatched energy.

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