‘This month Swedish artist, City Cowboy spoke to us on his music process, influences and future work he wishes to accomplish, it was a pleasure speaking to him‘
How are you today, City Cowboy?
CC: Great, thanks!
Would you mind telling us your story of how you entered music?
CC: Sure thing! Growing up we had a piano in our home and my older sister took lessons. I used to sit by the piano too (when she wasn’t there) and just play around and gradually found that I could play too – without lessons! It turns out I have a pretty good ear when it comes to identifying notes and chords, but not perfect pitch. As a teen I bought my first synth, a Roland D5. I remember making my first multitimbral tracks with Steinberg pro 12 and 24 on an Atari ST. The excitement of first recording a bassline for instance and then adding strings, then drums and so on was great. Such a creative joy. Then I tried to add some vocals along with the background. The lyrics for my first songs were really pathetic. One early track was a real “bohoohoo-story” called “Turned down again”! My music making “career” had thus begun. Many years later, I started making music with a Yamaha Motif workstation that I still use today and under the name City Cowboy. And here we are!
How long have you been writing music?
CC: Since 1989
What types of music do you write?
CC: I guess I would call it pop or synth pop. I solely use a workstation synth so I don’t include any other instruments, even though I do play the guitar and bass for instance. I like EDM and sometimes I do more electronic stuff, like the two Kraftwerk covers I have done so far.
What processes do you use to create music?
CC: I start with an idea for a song, it could be that I start with a chorus for instance. I play it on a keyboard and try to come up with words too. If I like it enough I try to compose a whole song with verses, bridge etc. When I know how I want the song to be, roughly at least, I do the sequencing on my workstation. I then record it onto my Tascam multitracker. Last, I work on the vocals and mix and master.
How are you involved in the Indie scene?
CC: I try to make myself heard through diverse channels, my music can be found in various places on the net. I have also done some local “publicity stunts” here in my home town. (Even as a Santa…) As part of WEATNU records, I agree with Almark’s vision that everyone deserves to be heard. If there’s any quality there, it should eventually be discovered, one hopes.
What is happening in the music scene around your area of Sweden?
CC: Well… I think the best place to be here in Sweden is probably Stockholm, our capital, or another of the major cities. That is not the case for me, I like country living so I try my best from here… Cowboy style…Yeeehaw!
Are you playing live or do you wish to online, perhaps through our label?
CC: So far, City Cowboy hasn’t done any live performances at all. That would take some practical arrangements so to speak. But who knows in the future?
You just released new music, would you like to talk about that or something you might be working at the moment?
CC: My latest release is called “Down the Aisle” and it’s a bouncy, happy track celebrating love and marriage. As a Christian, I do believe that marriage is the highest form of union between two people. Something to cherish these days. For this Christmas I plan to make my version of the medieval song Veni Immanuel available to my fans. It’s an absolutely delightful song and I chose to do the lyrics all in Latin. So beautiful. I hope folks will appreciate it and that they won’t think my interpretation of it is too modern.
Are you working professionally or for the love of music?
CC: Well, this “ol’ cowboy” has a regular day job and does his musical cowboying in his freetime! What I would really like is for the whole world to listen to my music. To really have people’s attention! The best thing is when I get a personal message or mail from someone who has been touched by one of my songs. It happens now and then.
You said you began with Atari ST, that’s interesting.
CC: True. With a built-in midi interface, the ST was launched as more of a professional musician’s computer than the Commodore Amiga I believe. I played my fair share of games on it too of course! But that’s how I started sequencing songs.Delightful stuff.
What kinds of music are you passionate about when you listen in your quiet space?
CC: If someone really had me in a stranglehold and FORCED me to choose just ONE favourite group, I think it would have to be Pet Shop Boys. Just for the sheer quality of their output through so many years. Their songs are really atmospheric I believe, and they always pay attention to lyrics. There’s often a melancholy touch there. Having said that, I do also give ample credit to Depeche Mode, Erasure, Jarre, Kraftwerk and Jay-jay Johansson for instance. That’s just within the synth genre. I do like other genres too and know quite a lot about classical. Bach is a favourite of course, Mozart too, but also romantic era stuff like Grieg. Early Music is also interesting. I dig jazz as well and hiphop. Some genres don’t interest me very much, including country, blues, soul and R&B.
How does the music begin, in your mind or outside?
CC: In my mind I would say. Or by playing around on some kind of keyboard. It doesn’t have to be a synth of course, it could be an acoustic piano too. I’m quite a skilled player if I may say so myself! 😉 I never, EVER use any “ready made” beats or grooves or anything, I do everything on my own. If I do stuff that’s hard to play right, I might slow things down while recording of course. This kind of music does take some quantization. Other genres don’t need to be so rhythmically correct.
Music theory or by ear?
CC: I play by ear exclusively, although I have an understanding about score and musical theory like intervals, chords, rythm, your dominants and subdominant parallels and stuff…
How did you come up with the name “City Cowboy”?
CC: Well…first off, you need an artist name, right? Although I find that at least here in Sweden, a surprising amount of people actually use their real names as artist names. That definitey doesn’t suit me, as the person behind City Cowboy is very private and secretive… So…the cowboy is one of the most iconic male “figures” in the western world, right? And I thought the contradiction of a cowboy in the city was quite interesting. What does he really do there? He can’t work with his live stock, now can he? He probably wears a hat, but he can’t strap on his gun belt. Does he go to bars and drink? I don’t know, I just liked the name.
This is our 5th year: where do you see weatnu records going for 2020?
CC: In 2020 I think WEATNU Records might be ready to lift itself from the shades of relative obscurity and become an important player, really becoming the voice of smaller, upcoming artists.
How is #WEATNU helping artists from your point of view?
CC: WEATNU helps artists by being a fair label, a radio and now also a Digital Magazine. Great with this threefold power.
Marmite or Nutella? – Trick question.
CC: I never eat Nutella. The other I don’t know what it is! Not sure it’s available in Sweden. Try to eat healthy stuff mostly!
Thank you City Cowboy for doing this interview with us, good luck to you and your music. May your Christmas be well and Happy New Year!
‘This month: Jason M Norwood, native to London, ON, Canada and long-time veteran here – was kind enough to give us his words about #WEATNU, his former artist name, Minutes After, and his latest release under the Berlin School music he creates.’
Hello Jason, please tell in your own words what #WEATNU has done for you. Tell us a story of your own?
JN: I like to search for new music a lot, and I can’t remember for the life of me how I discovered her, but I discovered an artist named Adryelle, and reached out via Twitter to mention I was a fan. Almark and I got talking through Twitter threads, and I discovered that he ran this enterprise called WEATNU. Running a tiny little label myself, we got talking on that score, and at the same time I was looking for a home for Minutes After, a techno-based solo project of mine that didn’t fit with my label’s aesthetic. The rest is fairly normal—I sent Almark some music, he liked it and asked about releasing it, and I signed on. I liked the concept of WEATNU being an artist-helping-artists collective, which is something I’ve always strongly believed in.
It’s funny, because I’ve since devolved my label into an
artist collective. Minutes After is
shelved, but for the first time I get to release my 25-year-long solo project
(stuff under my own name) with WEATNU—no talk of “I want another Minutes After”
album, just support for the broader sense of what I do.
I get to talk to a like-minded label head, I get to support
an idea that I agree with, and I get to be a part of a community where I can
offer my skills and bounce ideas off of others.
What’s not to like?
How did you first find out about #WEATNU and what were your thoughts initially?
JN: I think I got drawn into #WEATNU because I saw a kindred
spirit in this unwieldy thing called the music business. I’d been running my own thing, Hope Mansion
Recordings, for a while, and it was nice to see something in operation that was
designed to help artists. At the same
time, I had a rare side project called Minutes After, which was heavily
techno-based and didn’t sit right on my own label, so I decided to give it a
home I liked and respected, where it would be a little cozier.
I can’t say there was anything specific I wanted out of
#WEATNU going into that. Out of
head-to-head conversations between two people trying to do something different
in music, the whole conversation seemed to develop naturally. I also liked the idea of supporting something
whose ideals I agreed with.
Fast forward to now, and although Minutes After has ended,
we’re talking about releasing the Berlin-school electronic music I release
under my own name. It’ll be the first
time in 25 years I’ve put that project out under a different label, which gives
you an idea of how I get along with #WEATNU.
What do you feel #WEATNU is doing for the modern indie artist, how is it serving them, because now we have our magazine once again?
JN: I think the word
“flexibility” is the first thing that comes to mind. In a world where artists can be independent
and make good quality albums in the comfort of their own personal studios,
sacrificing things like artistic control isn’t really necessary. Also, technology has led to a lot of
possibilities as to how a label can operate.
So, #WEATNU doesn’t look to sign people to take control, I think it’s
about asking the artists “What do you need?”
It’s all there, but you have the freedom to operate on a loose alliance
or a full signing, and everything in between.
I’ve always felt the most interesting independent labels are
the ones where you like one artist, you get curious and start crate-digging
through the label roster, and #WEATNU has that in spades, but also it uses
what’s there to give artists a platform to talk about what they do—hence, the
magazine. Not only putting out music,
but providing the story behind it in a way that fans want more of now than they
Where do you see #weatnurecords going, now that we are nearing our 5th year?
JN: I think the label will continue to do good things! I think the fact that its different approach is what gives it prominence—this idea that artists and labels can make the goals a common drive rather than have an employer/employee relationship is healthier, and it will allow the artists on #WEATNU the chance to show what they can do without having to change themselves or their art.
“Canadian native, Victoria Bourdeau has been playing on WEATNU [OUR] (main) for some months now. We finally had a chance to get an interview with her this month. Her music comes from an influence of modern dubstep, Electronica, Deep House and Nordic pop.”
Victoria Bourdeau: You know, that’s an interesting question! I first started writing song lyrics in 2005 when the dream really came alive in me to do something outside of the box, and it’s become the greatest creative outlet for me besides drawing. When I got my first guitar on Christmas morning of 2009 I played it immediately, however something felt off, realizing I was a left handed guitar player with a right handed guitar I simply turned the guitar around and played it upside for two months until I got my father to help me re-string it.
What does music do for you when you create it?
VB: It opens up every possible door for creativity, and self-exploration, it’s like giving birth to a new way of embracing life. With different styles come different sounds, and with that you challenge yourself to become a better writer, and artist.
Any new material at this time?
VB: Yes! I’ve just finished recording a new track Called “Captive” and I hope to have it out shortly. Besides electronic music, I am constantly writing, EDM is just one side of what I do.
I understand you play the guitar and you also create electronic music using iOS apps?
VB: Yes, that’s correct, I create the electronic music from my phone, usually starting with the bass line and building the track around that.
Is WEATNU helping you to be noticed as an artist?
VB: Of course! Ever Since I’ve had contact with WEATNU the amount of support and encouragement I’ve received over Twitter and through the community of connected artists as well as through this WEATNU Records has been truly astounding to me. I still can’t believe all of the things that have happened this year, it’s just mind blowing. Also I want to take this time to thank friends and family that stayed by my side when things got rough, Thank you!
You have some pop elements in your music, does that somehow create a bigger picture for your electronic sound?
VB: I’ve never really thought of it in that manner to be quite honest with you, when I started out and still to this day, I’ve just wanted my sound to be unique enough, but familiar enough to the general public so that they get to experience a new vibe from my work. The intention was never to gravitate attention, it has always been simply to lift people’s spirits up and to inspire them.
As far as the area you live, is there a scene in your part of Canada?
VB: Honestly everybody just does their own thing which I think is cool.
What goals do you have as a musician?
VB: I try not to set goals because i feel they can make a person close-minded, I just go with whatever feels right for me in that moment, and just embrace every moment as it comes about, good or bad.
You also sing, are you planning on releasing anything in the future with your vocals?
VB: That may be a possibility for me one day in the future but for now I prefer to just let the music speak for itself.
Do you have any fav artists under WEATNU or WEATNU Records?
VB: Mm hmm, One of the artists that stands out a lot to me in not only style but class as well is Em Baker (Plike). Her sound is dark and atmospheric but leaves a very genuine and delicate impression on listeners.
What do you think about the current scene of electronic / DIY musicians these days?
VB: I think it’s wonderful, although I’m saddened that not more are recognized in the way they should be.
You’re a passionate and poetic person, how does music fit into your background, how did you begin?
VB: Music has always been apart of me. Just before I was born my father would crank up music to find that I was keeping perfect time to the harsh and violent beats of Motley Crüe . At just four months I was whistling, and by ten months I would hum myself to sleep.
I began music by studying the way different artists portrayed and conducted themselves on stage in a way that would get the crowd going, bringing the fans into that moment with them. If the artist was disconsolate, you felt it, if exuberant you felt that! It’s all about finding your path and growing from there.
Being one of the youngest of WEATNU, what do you think you can bring to your generation?
VB: I hope to be able to give back to people through my music and to inspire people to go after what they want in life contrary to what they believe they can succeed.
What influences you as an artist / musician to write?
VB: That’s a hard question to answer because everything in life inspires me to write, the bare leafless tress of winter clinging to life for one more season, the light of the moon at night, the miracle of life, the tides of the oceans and how the sea creatures respond to the different levels of water in their environment. Every little aspect of life is truly miraculous and breathing taking for me so it’s hard to answer that completely. I’m sorry.
Dreams of becoming?
VB: Someone who is able to inspire at least one person.
Tell us more about your new EP?
VB: Captive? Well It takes the form of many styles some of which are mixed. Deep House, Trap, EDM, Heavy Bass, Nordic Pop ect. For me it’s all about pushing the limits and not staying in one square box, because in time if I want to focus on one platform, it’s not something that wouldn’t have been familiar in my other music. The point is to stay as original as possible but also to constantly change it up, to have it be that no two songs are alike. I want each song on its own to speak for itself. That to me is how to keep things alive and is what the songs on my coming EP represent.
If there was one thing in life you could be remembered for what would it be?
VB: Being a risk taker.
Where do you see #WEATNU going in the next decade?
VB: I see it becoming a world-wide spread community of thriving artists.
Bagels or Donuts? VB: Why do you do this to me!! Both are great but I’m afraid I have to choose Donuts, I’m so sorry Bagels!!
“A most prolific and unique musician. Corbin Roof comes from South Carolina with his genre-jumper electronic music. Now transitioning into sleep therapy and ASMR. Part of the #WEATNU machine, promotional indie supporter and music lover.”
Being one of the leading supporters, promoters of #WEATNU in a whole, you also write your own special style of electronic music. Would you like to talk about what it means to be a genre-jumper?
CR: It’s a term I coined as I started creating so many different types of musical pieces as a solo artist. I used to focus on just one type of genre per piece I was writing, but eventually I decided to starting putting two opposing styles together per song. Eventually I started writing more electronic rock music as it is easiest for me to produce with what I have readily accessible as far as instruments. The next album will also contain some electro-acoustic.
It’s a very cool concept. I hear all kinds of things, like a mid 90s sound, Fatboy slim, Dust brothers, NIN in your music, did you listen to a lot of those bands during that time?
CR: Fatboy Slim and his videos by Spike Jonez were a staple for me back in the 90’s. I saw NIN live in Columbia with the Jim Rose circus sideshow opening for them. I’ll never forget the level of stereo effects in that concert as sounds seemed to bounce from every sector of the crowd. I didn’t start wanting to create that kind of music though until after “The Fragile” album finally came out.
I hear a very NIN driven influence on Crowd Mover, along with a early 90s hip hop synth melody happening in the background.
CR: I bought a bass effects pedal that had great distortion patches. For some of my earliest albums I had would forgo guitars completely and just use distorted bass.
The album Sampler: ElectroRok is very speaker punishing, kicks you in your arse pretty hard.
CR: I LOVE DISTORTION (if you can’t tell)!!!!!!! I use the Scream distortion effects processor on Reason for literally most of my drums. Gives a more rounded sound quality to add distortion with some other clean percussion.
Are you using a heavy hand on the low EQ freqs in this album, really shakes the room on subs? Though as you can guess, not everyone has access to subs. True, the distortion is very punishing on this album. How many instruments are you playing on thealbum?
CR: That’s that sub bass!!! I take it upon myself to listen to my music over at least three different sets of speakers before allowing the public to hear any piece. I usually start out with the Roland monitors while creating and mixing. Then playback on the iPhone6 to examine clarity over very small speakers. Then I have a small Bluetooth speaker that adds a little bass to it. Lastly, I listen to the piece over the car stereo; that also is equipped with sub bass, and test overall quality and peak volume.
Also, I’m playing seven different instruments over that album. Just bare in mind The Sampler albums span the last nine years, and I had a lot of different equipment back then.
So it’s a work as you go type album? How did you happen to make all tracks sound like they were recorded in the same time period?
CR: That is due to a process I fine tuned for recording and mixing using Sonor and Reason. I had a PA system that I was running all the recorded instruments through. There is a faint hum or hiss in the background, and when I had an older DELL laptop I would occasionally get some bleed through of static from the computers audio processor. Something I couldn’t get a round with that recording process but now that I’m using a different laptop and recording process, I have lost that static.
You’re an advocate for the indie artist, what do you see happening in #WEATNU?
CR: I see a lot of unclaimed opportunity for those not understanding why promoting others works most effectively for artists not willing to pay for promotion. If we started charging for promotion packages, like the spam I get and disregard all the time on Twitter, our movement would implode in a short time as members decided to weigh other options. WEATNU is what we as a whole make of it and as more join in I’m seeing that there are more and more serious supporters that are willing to promote other WEATNU artists, and the radio helps as well.
What is missing from #WEATNU that could possibly be corrected to further the advancement of this movement? Allowing us to reach the masses as this is our goal?
CR: Well I am forgoing the video for UNSTOPPABLE for a little while to work on two promotional videos for the WEATNU movement. I was actually waiting until this interview to unveil this idea to you and the rest of our members: artists placement. In the second year of WEATNU’s existence I would like to get more involved with each of the artists that are willing to take part in artists placement. And by the third year actually put artists placement into effect. There are some extremely talented musicians and minds in our movement and those that are dedicated from the beginning of their membership until the very end should be given a chance to find placement in film, TV, and advertisement if they so choose. It will show a real commitment from the movement to find placement for their music and in turn if they truly understand why the movement works so effectively for those willing to support it they will be more inclined to donate their time and money to its cause.
That’s a great idea, how would you go about giving them placement in tv?
CR: Well sites like Music Clout make you pay for a subscription through them to get “opportunities” to submit to various movies and advertising. This would NOT be a subscription or membership… It would be an opportunity for those that have seriously donated time and or money to WEATNU. I would talk personally about this to each member that fits that criteria and work on outlets for them on an individual basis. Each of the opportunities that are on those sites are posted all over the Internet, if you know where to look or even more importantly have the time to look. Weatnu Records is where I would start. I may not always have the time, as a father of soon to be 2 little girls, to make music, I will still devote my time to helping others.
It seriously just depends on what the opportunities posted are looking for. Some are just looking to fill a library of music for whatever is needed at the time the agency needs it. The problem is that our members are sitting on a LOT of great music that needs to get out there, but they don’t necessarily have the time to put into finding where it can go and be heard or hopefully heard.
So you’re working on yet another album, this time under Roofy?
Yes, but not under Roofy, only Corbin Roof. It’s an acoustic electronic album, “I’m starting for next year.” Roofy will have TWEAK YOUR PATH finishing out this year and then REWIRED next year & a few here and there collaborations. While I’m focusing on Corbin Roof branding next year to get into position for the children’s album 2017.
I figure shooting for a goal that far ahead will help to solidify the brand by that point as the sleep aid/ambient ASMR albums have been selling pretty well in comparison thus far.
You’ve also been writing on a new blog through tumblr called The Greatest Unknown musicians of our time, how is that going?
CR: I sometimes feel like I need a huge office with a cheap yet highly functional IKEA desk. Just got in all the musicians info for their spotlights on November’s blog, and already got the next batch of musicians together for December. So if anyone is interested, they can contact me and get on the waiting list. I have decided to contact Jordan Pier of Leaving Richmond at the last minute as his EP just came out (which is amazing) and really needs some exposure. “Just doing my job…” or something to that effect. I have decided to just delve into everything I can possibly to continue the campaign for Roofy and start branding Corbin Roof with the goal of doing some “street” performances of my up coming album “The Semi-Hollow Box”.
BP: So I really enjoyed your work on the last Abstract Alpha show.
Almark: Thank you. Did you know “Return to Planet Zamede” was written 2013 or was it 2012. It’s a rare track that no one ever listens to.
BP: No, I wasn’t sure how old it was, but it certainly fits the format to a tee!
Almark: I’m about to release my first single in a long time. A new single to “The Scheme of Things.” I’m excited about the production of it all. It just feels right, the timing to release.
BP: When are you planning to release the album?
Almark: Probably April. Like I did with -ATD- in 2014. It’s hard to say…I need to get in gear. When I set a deadline, I push myself hard to make it. Last time I pushed too hard
BP: That can happen. Do you have everything written song-wise and you’re just mixing and mastering now?
Almark: Most thoughts and ideas are in pieces…that’s how it is when I write an album. There is no % to tell you. A-Test, U-235 and Oracle are all going to be on the album, so I had a head start earlier this year. Once again I want to write a full album…12 songs, prob 14 including special versions like I did with -ATD-. I’ve been meaning to release A-Test video for months. Now I have a reason to complete it.
BP: Very cool, man. I look forward to it. It’s interesting to hear how other musicians work…everybody has their own individualized process.
Almark: Glad to hear that. With me I have to create something, then jump to another to get it all done because I get new ideas and instead of stopping, I save the song, go to the next project and begin using what I was just messing with. Helps me to always flow forward. Reminds me of how torrents download…you know the bits of files. That’s how it is. It’s a weird process but when you have another idea you must get it out, you must tape it or it’s too late, thankfully Ableton allows me to do this. Then I might say, well 3 hours of this thing isn’t working, get a new idea and move forward. Coming back to the last song idea later and seeing if I can add more to it.
BP: I often work like that as well, at least to a certain extent. I rarely sit down and work on one project from beginning to end. I like to have several ideas going at once.
Almark: Exactly. I remember one song on -ATD- took forever to write in that process. Forever, because I couldn’t figure out what to do at the middle, how can I end this, that kind of thing.
BP: There are times I work on something for a while, then realize it’s never going to work, and trash the whole thing.
Almark: Personally it would be hard for me to trash anything I work on, I’m a digital pack-rat you know. It’s hard to work on just one project when the demand to do more than one song must be met. When I’m on a deadline, I just keep pushing, trying to outwit myself. I have songs that are not complete from 2014 for this new album. So I can work on them as well. It’s all like torrents, in pieces but each are projects to be loaded and worked on. Though I have so many musicians I hear daily, their music doesn’t upset the flow of with my thinking. I have the natural ability to block out everything when I’m writing music.
BP: I think because it’s electronic music, you’re able to work in this manner.
Almark: It’s your own world you, do you see? I know for certain that one of these ideas is about to become a full single. It’s because of ‘Live’ which imo is best DAW ever created for my own needs, that is. Keep your racks loaded from the last idea and move forward, brilliant stuff..
BP: I agree….Live is such an amazing tool. I love it
Almark: It might be I’m writing one melody and say ‘whoa, I like that but it doesn’t fit with this song’ so I save and move forward and write more to that melody, then another song is born. Then I have to cultivate it for a while and make it final. -ATD- is a very precise album. Took 9 months to develop fully, but I had to stop for 3 months because my old computer fried back in 2013, so the release date was changed to April 2014. WEATNU has kept me super busy this last year but that’s ok, its all coming to the end, an end meaning automated not so manual now. More time to work on music again. WEATNU is at a level where it takes care of itself. All I have to do is oil the machine, so to speak.
BP: That’s a good thing, because making new music is important for the soul, man.
Almark: Music is important.
BP: How do you develop your ideas for sound design? Do you work on sounds before or during the writing process?
Almark: Usually the music is created first, melodies, beats. Later I might transition into using special techniques and effects. Sometimes I might include creating strange EQ nuances. I did that on ‘High Bias’, this weird squeaking sound when the hi-hat would trigger. And coming up with a strange effect is always interesting, because you never know how it’s going to come about, usually by accident. I might start off with a drum beat created using MIDI controller, thumb and fingers, then work on that. Or a bass line synced to it to give it an edge. It’s always different. Or mysteriously I fall asleep from working for hours on a song and wake up with a weird melody, perhaps that’s called ‘Sleep writing’.
BP: [laughs]…yes even the sub-conscious comes into play.
Almark: The strangest of songs have been created from Sleep Writing’…it’s like zoning out, half awake and doodling at the keys until you get something interesting. I use to do that with guitar writing as well [laughs]
BP: And as far as automating effects and modulating over time…how much of that comes into play when you’re developing a piece?
Almark: I’m big on automation, as it’s the key to an interesting song. It comes into play after the structure is done. Most of the time I write a song with MIDI controller, get the idea done and work on it without the keyboard. Setting up automation on faders, adding stuff to return tracks do the mixing as I go. It’s kind of a process that has worked for me for 16 years, coming 2016. (Live) just makes it more unique, it lets me create little timing modules. One song might have different starts and stops for it’s reverb. Tape Head was like that. If you look at the automation happening on the front of the mixer, it’s very robotic, return volumes turning up and down in sync to the music [thought about a video to it one day] Tape Head needs a video, but I’m selective about what footage I use, still searching.
BP: It’s quite interesting to me how these techniques really enhance and creation of electronic music.
Almark: Building blocks of sound. When it comes to melodies ‘which are important to my process’ they are like swells of sound, when you add them together in melody forms (one on top of the other), it creates chords much like orchestrations. This is probably why I call my music abstract, as there is no form or genre to it. it’s just music that fills you with many emotions. Blown Glass is a good example of this process. The three note du du du continues many times but sounds different every time. When you add many complicated and long measures of melodies and combine them, something mysterious happens. That’s how Wow-and-Flutter was born. it’s 2 songs in one. Here you have this classic thing happening in the background, which is panned for different parts one one Left channel and the other on the right. Bass clef stuff on the left, higher parts on the right. Indecently I am not an expert at reading music, I only feel when I write it. Completely by ear.
BP: The fact that the technology allows for this kind of experimentation, wild things can happen.
Almark: It’s like having endless tape, where you can mangle and mess with the sound any way you like…Ableton is brilliant software. BP: What about utilizing samples of organic instruments vs. synthetic sounds in the scheme of things?
Almark: When it comes to sampling, I will find sounds from anything I can, any movie, anything that suits what I’m looking for and change it where you can’t tell what it is. Being abstract allows for these kind of ideas. Good example to this is my album The Nineteen Eighty Four show, using only the sounds and music parts from the film. Then I add these swells of melodies, usually 3 seconds long to play all over the keyboard like instruments. Also synthesizers are all created from VST, like on -ATD-. I use to use more analog keyboards, but the transition to digital happened with me in 2009. I don’t use real instruments in my process, but it’s always been considered.. Perhaps in time. In fact I’ve been craving a new method, to form the sounds I’m after with a high quality condenser mic. Sampling is what makes music interesting, doing it right and making things your own. I don’t always sample, it’s just part of my unique process to the music. Sampling is otherworldly, if done right, organically. Thought Patterns in ‘Documentary’ Form is a good example of that idea, plenty of sampling happening on that album.
“Lithuanian born: Austeya moved to London to continue her career in music. Her powerful vocals and emotional electronic melodies create her style. Influenced by Kate Bush, Depeche Mode and Land Del Rey.”
Corbin: First and foremost, I would like to take the time to thank you for allowing me to conduct this interview with you. It’s been really an honor to see you join us and flourish as well as you have with your music career. I see you just got done with a photo shoot, how many times a year do you update this part of your portfolio?
Austeya: I do not have certain dates and times in mind for photo shoots. I just do it when I get an inspiration, this was a shoot with a photographer who is my friend as well, so it was really fun.
I am working on pictures now so hopefully some of it should come out soon!
Corbin: It looks like your live band is really helping to get your “brand” out there. Are there any plans for adding additional members to your live band?
Austeya: I think at the moment I am looking for a solution to play electronica music live. I was looking for people to help me do that, and I found some really great artists already. I am hoping to join these musicians and artists into one bigger production eventually.
Corbin: Would you do a mix of the electronica with your traditional set, or just have the show do a complete turnaround to the electronic side of your portfolio?
Austeya: This would be a completely new program, as we are working on writing new material right now. I am also due to release the new single “If I could” , which represents the new sound I am working towards. Corbin: We’ve been looking forward to your single! Are going to be releasing it through WEATNU records?
Austeya: Yes definitely!
Corbin: I think last we spoke, you were headed to Lithuania. How much traveling have you done to collaborate with others across the globe?
Austeya: Quite a lot! I have worked with people in Lithuania, and also in Dallas, Texas. We shot couple of videos together, one is due to come out still. I of course work with several people in UK (and also in U.S.) but just remotely. Would be great to meet all of my collabs face to face one day!
Corbin: That would be exciting indeed! Out of all your musical endeavors, which do you see as being the most promising to help you “break through” to the masses?
Austeya: I am excited about my newest project where I’m working with an electronica musician who is also an animation artist, we are working on a new song right now and I think this could be a very promising combination of our skills. I also think that the release of “If I could” should be very successful, and we are in the process of creating a music video for it.
Corbin: WEATNU is glad to have an artist who is dedicated to getting her music/brand out there by all outlets possible. I saw your interview on Beatsta.com, and figured I would go a step further. Besides another outlet for your “Teach Me” EP, is WEATNU helping to expand your career outside the realm of possibilities prior to you joining our movement? What else can we do to help you along your path?
Austeya: I believe being part of WEATNU has definitely helped me to put my name out there and I am proud to say that I am part of something as special as this community. I could not stress more how important is being part of a group of talented artists who support each other.
I only feel like we should help out each other more with promoting live shows. I do quite a lot of live shows in London venues, and getting people there is difficult.
We should have WEATNU in UK where we could do regular meet-ups at each others gigs – I could champion this!
Corbin: I knew that was a great question to ask! Really gets those gears turning on an uncharted level for WEATNU. I would strongly urge you once this interview is posted to leave your contact email in it and/or reach out to those members in the UK (of which we have A LOT!!!!)
I can only help as much as I can, but as Almark and I have determined, WEATNU is literally what each individual member makes of it. We merely provide the tools to gain exposure and help nurture our members, but it is up to them to figure out what works best for their goals, and with that being said, why do you think (as far as your own experience with the WEATNU movement) so many artist / members have left us lately? What do you think WEATNU can do to retain its growing number of artist / members?
Austeya: Maybe because there were quite a few members and only a few people to run the promotion, each member was not getting enough attention. I think we should join the forces and get more people championing WEATNU promotion at their own locales! I think we should also try and partner with other, bigger networks that would help us gain even more exposure. I also think we should go out to industry events and promote what we do, this network has so much great music and personality to offer, it should be more well known!
Corbin: These are all great ideas! The only trouble is that not many artists in (or out of) WEATNU have that mentality. It takes a lot of time out of our week, let alone daily, to provide any promotion to all members as they create something new or have news of their endeavors to share. This leaves little time for each individual to create their own music if a very small number of people are willing to take any time to promote what everyone else is doing.
We recently have implemented a policy change in WEATNU, we are no longer doing PR for individuals. The main focus is the movement itself, which is now focused directly on it’s net-radio and label. When the new WEATNU.com is up and running we will be focusing only on those that are willing to put their music on the label. How do you feel about this new policy?
Austeya: I am not sure… Personally, I wish you would keep the PR going (as it is much more important than just having your album sitting on-line). You can do it (PR) on many websites, but with no sense of community (and promotion), the concept might loose its value. Just a thought.
Corbin: The concept behind the change is that with so many members in WEATNU, literally only about 20-30 people understand the concept of artists promoting other artists. The rest are just sitting back and riding the band wagon, not even willing to share even one member’s endeavors.
The cancer from within has stopped… This is what it has finally boiled down to: Will you share what EVERYONE (who is left after this policy change cleans the old system out) has that is news and music from this point on? Do you think others are going to be willing to do the same?
Austeya: I think as long as we communicate the message clearly, show a good example, and stress how important community is, members will follow the culture!
Corbin: So before joining WEATNU, how effective was your promotion? What outlets do you still channel outside of the WEATNU movement?
Austeya: Social media pretty much, also networking with people when going out to events. I have had some people helping me to spread the word along the way too…
Corbin: I gave up on being a star in my 20’s. Green Day, The White Stripes, and Jay Z had their respective industries on lock down and so I created my own solo career as Roofy. The music industry was so different back then. What are your goals and aspirations? How have they changed over the years?
Austeya: I think being a star is just a consequence of great dedication, hard work, talent and strong character. Having good connections can also help you break through. I am putting in all my hard work and I am dedicated to what I do, but over the years I realized that good things are always worth the wait, so, today I am not bothered about fame. I am more interested in creating something extraordinary which will draw the attention to my work and personality without having to rely on gimmicks.
Corbin: Exactly!! That is why the movement is what we as artists make of it. No gimmicks, just lots and lots of hard work (which is something you are very used to). Is there anything in particular you would like to give back to you fans, supporters, and assistants who have helped so much along the way?
Austeya: I would like to give all fans lots of inspiration to do something cool in life, fingers crossed I am successful.
Along the way I met some amazing people (including you guys) , and I could not be more grateful for the support and your taking the time to notice my work. But just to sum up, and to address those who helped me to develop the sounds, helped with promotion, live gigs, also to all musicians, make up and photography artists… I will pay in big sums of cash after I release that number 1 hit … or maybe the whole album? Work in progress basically 🙂 And I know that I cannot pay back for believing in this music and me, so that’s why I am also adding lots of love!
“Buffalo, NY, native, Bufinjer, Dave Bulera grew up to the Big Beat sound of the 90s. His music takes you back to the days of The Chemical Bros, NIN, The Crystal Method, The Prodigy and Pitchshifter. #WEATNU DM was fortunate to get a moment with him in his busy schedule.”
Corbin: First and foremost I would like to say thank you for giving us at WEATNU an opportunity to give back a little to someone who has done some writing for our digital magazine and has contributed to the “gears of WEATNU”.
Listening to your album Synical takes me back to the 90’s. The sounds used and the style of its progressions especially. What are some of your influences that inspired you to create this album?
Dave: It’s funny that the album takes you back to the 90’s because a lot of my inspiration is from the 90’s. I am strongly influenced by Nine Inch Nails, Filter, The Crystal Method, The Prodigy, and The Chemical Brothers. All of which were at their peaks in the 90s and early 2000s. Nine Inch Nails’ Pretty Hate Machine was a huge influence in the direction of my music interest, and as I switched gears from listening to music, to making music in 1999, I was heavily into the electronic music genre, or Electronica as it was referred to at that time.
Corbin: With all the music projects you take on how often do you get a chance to sit down and write music for yourself?
Dave: I try to focus on my music first. Unless there is a deadline (which has been the case lately…), Sometimes when I am working on a project for others, and I get stuck, or frustrated with how things are going, I take a break from the project and work on my own music. This can be a double edged sword though because when things seem to be coming along good, I focus on it until it’s done, so this can put me behind on my projects. I have been working on my new album for over a year now, and my projects have pushed my release date back a bunch of times. At this point my new album is scheduled to be released in June.
Corbin: We’re looking forward to your new album. What is the name of the album and how different will it be from your last one?
Dave: Thanks. I’m excited about my new album. It will be called “Electrolysis”. This album has been work in progress for over a year. The songs will be similar in style to most of my songs in “Synical” but show how my my techniques in laying out the songs has grown. I don’t focus on one genre in my songs. I like to use a combination of new and old to make things unique. Effects have been used a lot more in my newer songs to keep things sounding fresh and different.
Corbin: Will this be released as a WEATNU exclusive?
Dave: Yes, I plan on releasing it exclusively on WEATNU Records, then in July I will release it again through Music Kickup to get it up on iTunes, Google Play, Spotify, Deezer, MixRadio,Rdio, and Xbox Music.
Corbin: With only about a month left do see anything else getting in the way of the release of “Electrolysis”? Besides promoting the album where will Bufinjer be moving from here?
Dave: I still have 2 songs yet to be completed for a remix album that are due within two weeks. If I can get these done soon, I can get back to my music and complete the songs for “Electrolysis”. If these remix songs take longer, I will have less time to finish things up for my album. I have already pushed this off 3 times, so hopefully this won’t be the case again. Originally I wanted to release it in January, but I did not have things ready, then I wanted to release it in March, but other projects pushed it further away. Then I was gearing up for May. I’m giving it another month to finish all things up. Because of my busy schedule, between working, and family, I do not get as much time as I would like to devote to my music projects.
At this point I don’t have any specific plans once I release “Electrolysis” as far as what is next. I would like to make some new videos for the songs from “Electrolysis”. I have one for “Deep Under” but that was done 6 months ago, so I need to get back into the video groove again. I make all of my own videos. I also would like to continue my series of The History of Electronic Music for WEATNU Digital Magazine. It’s fun to learn more about the history, and share it with others as well. Of course, I will work on music, and start preparing for my next album as well. Some day I’d like to re-master and release my older songs, I have well over 80 songs that I’ve made prior to “Synical” that I have not released. That will be a major task for two reasons, it’s a lot of songs to work on, and I only have the MP3s to work with because I had a computer hard drive loss a while back, and lost all of my original project files.
Corbin: Wow Dave! Your story sounds almost exactly like mine only most of my old stuff is backed up on mini-disc and it’s becoming increasingly harder to find a MD player that actually works anymore. What programs do you use for your music and then for your videos? What about live instruments?
Dave: Wow, mini disks huh? Yea I bet it would be hard to find players for them! Haha. I just got a new 1Tb external hard drive, so I plan on copying my music there, and I’d like to find a cloud storage big and reasonable enough to store all of my music too for safe keeping. I have many different programs I use for my music, Ableton Live 9, FL Studios 10, Studio One, and Sony Acid Pro 7.
I feel most comfortable with Sony Acid Pro 7, so mostly I use that, my Novation Launchpad, and my iPad and my Novation app. Acid is what started my journey into making music, and I’ve used it for so long I know all the tricks and features well. I also use VSTs quite often. I have somewhere around 100 of them that I use for effects, tweaking, and mastering. For my videos I use mainly After Effects and Movie Maker. I use a mix of video clips and after effect projects to make my videos. As for live instruments, sadly I do not play any. I was always interested in the drums. When I was young I got a drum set for kids for Christmas. I was maybe 6 or 7. They were not quality drums, and I was a bit rough with them, and eventually I broke them. So there went any shot at the drums for me. I have also played around with guitar and bass, but never was able to focus on them and learn to play. That is why I love electronic music, and being able to make music on my computer. I feel I have a good ear for music, but not being able to play any instruments, I would never be able to make music, without a computer.
Corbin: Your music seems to really fit well with songs I have heard on all the most famous video game platforms and new game releases. I don’t have time for video games any more but it is becoming more and more a demand to have incredible music on these games. Have you ever thought of trying to get a licensing deal with any of the large console companies?
Dave: Thanks I appreciate that. I also don’t have much time for video games anymore, although I do spend some time playing video games with my kids when I can. I’ve always wanted to get my music in video games, commercials, or movies. Years ago I tried to deal directly with EA Games, but that went nowhere. I do have my music with two licensing groups now, but unfortunately no placements at this time. I’ll be honest, time usually hinders me to promote and get my music to licensing placements. I know I should be better at that, maybe once things calm down a bit, and I get my new album out, I will look into more licensing companies.
Corbin: Ah yes, TIME the greatest thief!! There are only so many hours in a day and we must all use them wisely. Please take into consideration all that you do musically and I will ask you this, if you only had 1 hour per day to do anything you needed to in your musical endeavors what would it be and why?
Dave: That is a great question. Since I normally jump all over the place (I get easily distracted sometimes) that is a hard one to answer. I think I would spend the time to work on re-mastering my older songs. The reason why is so I can compile albums showing the progression of my music over the years.
Corbin: I was really expecting you to say what others might say, make music! You are very unique in your craft, in that you would choose to have the records of your legacy in a form that best represents your aim for a quality product that others may enjoy. So as far as live music, this is the furthest thing from your mind?
Dave: I thought making music was too easy of an answer. I just want to share my music with others. All I can do is hope they can enjoy it as much as I do. As for live music, I really am not cut out for that. I’m not an outgoing person when it comes to strangers. Once you get to know me that changes, but I’m not one to be the center of attention. Plus, the music I make isn’t cut out for live sets. I cut and chop and move things around to make it work for me. Yes I could use my computer and press play, or program my Launchpad to do it, but I’m more about production than live sets.
Corbin: I see you share a lot of other artists music across the Facebook WEATNU “Artists and Fans Movement” page and on Twitter. Being an advocate for other artists music is very time consuming but a necessary part of our movement. How do you think we can get others within the movement to do the same?
Dave: I believe that is something people do by choice. I have always been an advocate for my friends and fellow musicians. That’s why I started my website Connect4Artists, to help as many other artists as I can. All we can do is keep encouraging others to share and promote fellow WEATNU members. I don’t really know of a way to get others to do this other than to keep stressing how important it is to help. It can be time consuming, but if you just did a little bit every day or two, it would benefit everyone.
Corbin: Dave you literally just blew my mind! I had no idea you were responsible for Connect4Artists and I have been posting and promoting others across it and Facebook and Twitter for a while now. How well do you find artists across Connect4Artists help to promote each other?
Dave: I mention the site once in a while, but I kind of keep that separate from my music stuff. When I first started it, I devoted a lot of time to it, but as time went on, I had to spend less and less time on it. I still offer free promoting on the site. If artists share their links with me I post to the site, then share across twitter, facebook, google, and sometimes Youtube if the link is for Youtube. I have been able to connect with some artists there, and have thousands of likes and followers between all the social media sites. Unfortunately it really hasn’t had much attention on the website lately.
The Facebook account tends to have the most action, twitter next. I often wonder how many people realize there is a website. I think most think it’s a Facebook page and that’s it. I really don’t see too many artists promote each other there. It seems just as with WEATNU, artists are just too busy to promote others, and share with others. I try to share as much as I can, but time is always a challenge, so I don’t share as much as I would like. If I had the time, I would post as much as I could on my own to the website, especially for WEATNU artists, and share all of the great stuff, but I don’t have the time, so I have to only post when the artist gives me the links to post for them. If only there were more hours in a day!
Corbin: I had no idea that it was a website either…I never looked that deep into it. I’m wondering now if it is that same attitude towards WEATNU that people don’t understand. The many avenues that our movement provides and using each one to its fullest is the most beneficial way to gain exposure. Most importantly sharing the gift of this movement and all it is encompasses is the key to making artists successful through WEATNU. Why did you create Connect4Artists?
Dave: I believe that is part of the attitude. Not knowing is a big factor I’m sure. Being busy is also a factor, because people are in a hurry, and don’t pay full attention. I find myself doing that sometimes. I think this is good feedback for me though, because maybe I need to add the web address to the cover photo, and maybe pin info on the page to show the website info. I know this isn’t the case for WEATNU though. Almark has made many posts to explain what WEATNU is all about, and sent info to explain things. But to ask for help so often that everyone sees it, often seems like begging. As for why I created Connect4Artists, here is the story… I was on a website called Beat100. Some may know of it, but if you don’t, it’s a website where you post your video (and now audio) into the “Charts”. You get votes to move up the charts with the intention to get to number one. To get the most exposure, you connect with others, and swap votes, and hope for the best. Well it turned out that the site manipulates the charts by giving “Artist of the day” awards which gives votes, and there are bonus votes that the site gives too. Plus you could “Buy” votes by “Promoting yourself” to move up the charts. Through the site I made many good friends, but we quickly discovered the site was fixed.
It favored certain artists, and pushed the ones that paid to the top. All very unfair. I even made it to first place, and was excited until I found out there was no cash prize anymore, and the “Worldwide Press Release” and “Exposure to officials in the industry” were all a big joke. I gained no new followers after winning, and had no interest whatsoever from getting to number 1. Then there was Artistsignal, with the vote bots, and and artists coming out of nowhere to win. And the hours spent to make and get votes. Also there was Citizen.tv (Now closed) with vote bots and favorite artist treatment. It all got to be too much. Contest sites are a joke. They provide false hope in boosting your career if you win.
A good friend of mine, and myself started talking about this. We know the whole reason for joining these sites was for exposure, and to meet fellow artists. But why deal with the cheats, and get nothing for all the trouble? We started saying we should make a site to help artists. Help them get exposure through promotion, help them meet other artists with similar interests. Provide helpful info, and maybe even help someone’s career. So Connect4Artists was born. It’s a great idea, great concept, but getting people to notice it has been a challenge. My original goal was to eventually get A&R and Record Labels to notice, and maybe be able to help artists with the right connections to boost their career. It’s still in its infancy, but it never took off like I envisioned. I still hope to grow the site, and hopefully make it a great tool for artists.
Corbin: Do you have any links to some of the newest material going on the “Electrolysis” album that you would like to share?
Dave: I have released a few of the songs that will be on “Electrolysis” on Soundcloud already. This has been a long process to put this album together, some of the songs have been out for a while. One in particular, “Josh’s Part” has been out for a year already. I’ve even had some of the songs playing on WEATNU OUR already. Punch Down, and Deep Under are currently in the rotation, and Altered Axis has played in the past. Here are the links to a few songs that will be on the album that I’ve already posted.
Corbin: Where do you believe the independent artist will stand as far as exposure in the next 5 to 10 years?
Dave: I think it’s a very interesting time for independent artists. It’s hard to tell what direction things will go. Places like Spotify and Tidal help and hurt the independent artists at the same time. Offering streaming pay is nice, but the pay is so low unless you get tons of plays, you don’t get any money. But they are helping a bit with exposure. I do fear how the music industry shuts down sites that are more listener based, and for the independents, like Grooveshark. Sites like these, Soundcloud, Reverbnation, etc., now have to make deals with record labels, and if the big labels pull their music, it can be a good and bad thing. Bad because it will pull listeners, but good, because it will allow more room for the independents. I believe over the next 5 to 10 years, that the large record labels will dwindle, and smaller labels will take over the market. If this happens, the independent artist will prosper. And with the advancement of technology, it will become easier for independents to produce and distribute their own music. This will be good for individual exposure, but will make it even harder to get noticed because the market will be saturated. Time will tell, and as we all well know, things can change in an instant.
Corbin: As always Dave I just want to thank you for all that you have done for the WEATNU movement. Looking forward to the release of your “Electrolysis” album.
Dave: Thanks so much for taking the time to interview me. I really appreciate it!
“Swedish experimental artist Naimi is no stranger to #WEATNU. Her music has been on our radio for a while now. She creates 8-bit influenced tunes, as well as synthpop styles. Her influences range from Punk to Indie rock. We were thankful to get some insight from her words.”
Almark: Hello Naimi, how are you today?
Naimi: Hello, quite ok.
<iframe style=”border: 0; width: 100%; height: 120px;” src=”https://bandcamp.com/EmbeddedPlayer/album=3700457922/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/” width=”300″ height=”150″ seamless=””>Demonsongs EP by Naimi</iframe>
Almark: Thank you for doing this interview with #WEATNU DM.
You’ve just released your first EP Demonsongs to WEATNU Records. But you’ve been creating electronic for some time now. How has coming to #WEATNU helped you?
Naimi: I got more followers on soundcloud and on twitter, and more people listen to my music on soundcloud. And I know more electronic music now!
Almark: Great to hear.
How long have you been writing?
Naimi: I did some songs when I was like 10 years old, and when I was 15 years old. But I started make music more seriously in 1998, when I was 19 years old.
Almark: You mentioned that you use Jeskola Buzz to create electronic music. Is this your main piece of software these days?
Naimi: Yes, I almost do all electronic music with that program, have used it since 2005.
Almark: And you being Swedish, and the author of Buzz is also Swedish, did that somehow allow you to find Buzzmachines? I too have been using the program off and on since 2005 as well.
Naimi: hmm I did not know that the author of buzz is Swedish hehe.
Almark: I believe he is, as the program itself greets you with the word. “hej” laughs
Almark: It isn’t hard to tell that you like video games, at least I can hear the PCM droning in the background on some of the songs on this EP such as OCD3. Is that right?
Naimi: I really don´t play video games, but when I was a child I did play a lot Nintendo 8-bit. What are PCM?
Almark: Pulse-code modulation. It’s that droning sound you hear in popular NES games, like Contra
Naimi: I think I know what you mean!
Almark: How well received is your music to the new listeners, and since this is niche music, aka avant-garde type, who are you targeting?
Naimi: It´s good! I don´t think so much about who is my target, people who like it like it. But I have noted that not so many people at Spotify listen to my electronic music, but on soundcloud they do.
Almark: It’s quite difficult to pipe followers into Spotify.
What music influences you to create what do you?
Naimi: when it comes to my electronic music, nothing special. It´s more my feelings and mental health that influences me.
Almark: What got you into creating electronic?
How did it begin?
Naimi: I got a synth when I was 10 years old, I played a lot on that, then when I was like 19 or 20 years old I found that synth again, and started to make music on that, melodies, a combination of Nintendo 8-bit and folk-music, and this was like 1999, and 2005 when I found Jeskola Buzzmachines I started to make more different electronic music. I wanted to do different music. Also I did and still do a lot of guitar music. I don´t want to do just one type of music.
Almark: You also mentioned that you own many analog synths?
Naimi: yes, like maybe 20!
Almark: That’s a lot of synths indeed!
Naimi: Yes I collected them before.
Almark: What is one such vintage piece of gear you own?
Naimi: I have a little sampler synth, Casio I think, I don´t remember its name now!…
That´s the name!
Almark: Lots of small synths then?
Almark: Yard sales?
Naimi: Flea market and second hand
Almark: Those are always fun.
What type of music do you enjoy, outside the electronic spectrum?
Yes, I did. Mostly Swedish punk, but also American hardcore
Almark: Like Black Flag?
Naimi: More like NoFX.
Almark: ah, I remember them.
Naimi: Yeah, I have heard them.
How is the Electronic scene in Sweden going? How is your music being received there?
Naimi: hmm I´m not so updated, I know Andreas Tilliander, Ola Bergman, The Knife, Sophie Rimheden. The Knife is very well known in Sweden, but the scene is not so big. I think many musicians know about me, but not so many other people.
How do you create your music?
Naimi: you mean the electronic?
Naimi: I often use the program buzzmachine. A few times I have used Mixcraft with a midi-synth, and sometimes I use my physical synths. Before, like 2000-2005, but it happens now and then.
Almark: Not many know about Jeskola Buzz. Since it’s the hidden daw of the Internet since 1998, I personally can say it’s one of the best free, if not free, at least completely unique pieces of software I’ve ever used.
Have you also created with Renoise?
Naimi: Yeah, Buzz is the best!! But I have not heard about Renoise, what is that?
Almark: Renoise is a modern tracker program, much like Fasttracker II. Also did you know that FT2 and Buzzmachines were created by Swedish programmers? AudioMulch is very interesting
Do you also create music by playing MIDI controller as well?
Naimi: Yeah, I learned that from you that they were Swedish 🙂
Naimi: Yes, sometimes.
Almark: Are you currently playing live anywhere? Locally
Naimi: No, not anymore, I used to play live in like early 2001, I don´t now, but the last time I played live was I think about 18 months ago. I have played quite a few times at clubs and festivals, but it was a long time ago.
Almark: So you’ve come back again, this time to the Internet?
Naimi: I have never stopped, but it´s like only on Internet now.
I´m too scared to play live, maybe I am going to do that in the future.
Almark: What plans in music do you have for the future?
Naimi: I have like music ready for 5 more albums, I’ve just got to record them, but it´s not only electronic music, it´s a lot of guitar songs and organ songs, plus I have plans to do a synthpop-album and a guitar-punk album with electric guitar.