Earlier this week Sideways had the privilege of getting an exclusive preview of Audio Pervert’s second album, Dark Robot, releasing later this month. While the twenty track album did seem a little daunting at first, the music soon proved me wrong. After the hard hitting beats of Teddy Boy kill, Samrat’s experiment with a more mellow vibe has shown us there is more than one side to this eclectic musician.
From what I understand this album took a long while to come together. Tell us about your journey.
The making of Dark Robot happened over 2012 and 13 – roughly 8 to 9 months in the making – As for the journey – for a while, I wanted to explore and write electronic music and forms which appealedand inspired to me along the way ~ having written more EDM centric and dance friendly tracks with TeddyBoyKill for a few years now – It was time to dwell into the leftfield – the dark moods and analog sounds which speak a different language – Dark Robot is a showcase of many forms and sounds which usually dont make it to a club or say a loud party. This album is for listeners – late hours and when your alone – rather than the chattering masses –
The energy of this album seems almost mellow, at some points even dreamy. What put you onto this vibe?
Like I said, having written various kinds of energetic and very aggressive music with TBK (Teddy Boy Kill) and performing live, it did get to a point of saturation – given, the amount of music that I would want to write – Dark Robot had to be minimal in nature – the “mellow”, you mention is the feeling of saying little and feeling more – via music and sound. Also its a runaway – contrast to the current day standards of mind numbing electronica and placid industrial beats …
Some of your tracks are almost sound scapes with a lot of ambient sound weaving in and out of your music. Tell us a little bit about that.
Ambience or the concept of building ambience has been important to me since I started messing around with synthesizers and sound making devices – the ambience defines the air we breath – sort of the atmosphere upon which a musical idea can be presented. also my intrinsic interest towards modular synthesis does lead to hours of noise, out of focus sounds and atonal passages which need not confirm to a structure.
There are quite a few tracks where you’ve collaborated with a whole host of electronic artists. Amazingly enough you’ve managed to blend in your sound with these artists original genres and styles, especially with UheldMe(DOWNLIFT). Did you make tracks with certain artists in mind? Was it a collaborative process?
The collaborations happened with people or artists that I wanted to work with – their artistic vision appeals me – I respect them for what they stand for via the music – there are a few classical composer ( Erik Satie and Maurice Ravel ) who inspired me to synthesize two of their composition originally made for piano. Being a producer, I feel its my vision and job to create music which is a balance or blend of two forces – As a producer I would like to present music which makes the listener feel ” at home ” and absorb the music without knowing who or where its coming from …
Using Kiesha’s vocals is a bold move. I know there’s a story in there somewhere…
Ha ~ Well yea. The story is : Her erstwhile producer Matt Cosmos – had put up the vocal stem of the song for remixes. I happen to download it – It was atrocious, raunchy and totally not my style. Yet, after running and editing her voice through some Max Msp and Quarks plugs, the words got totally messed up and I arrived at a point – Where I could hear ” dicks have come around “- That was a start point to the song – Also its a reflection of our country fanatical male chauvinism and patriarchy …
From the last time we spoke I know that a lot of this album is mostly home grown. Tell me about the technology behind it all and the ‘persuasive expose of analog sounds.’
For the last 3-4 years I have gradually shifted from computer based production methods to a hardware based production. The source of the sounds on the album ( basslines, ambience, arpeggios, noise, efx ) are all generated via three of my favorite synths – The Dave Smith Mopho – Doepfer DE and the Roland SH101. I wanted to move away from piling up endless tracks and getting into a hemorrhage while mixing – I notice many musicians and producers who feel great making tunes with a bucket load of sounds . yet the sonic results are chaotic and almost chocked. Making Dark Robot has been a relearning experience of sorts .. Less is More. And Analog synthesizers and hardware is way more exciting than wrecking your head over some tacky VST … Though I am dependent on Reaktor ( Native Instruments Virtual Modular Synth ) – perhaps that being the only digital tool of composition – OH yes and the worlds best and most intuitive sequencer Ableton Live.
And finally, the artists you drew inspiration from for this album?
Well not specific artists – yet an amalgamation of various artists, sounds, genres and forms and tastes within electronic music or even crossover … the album does feature two very well known classical pieces ( Gymnopedi & The Pavane Du Infanta ) – The thing is – I usually consume so much music .. by the time it settles into my subconscious – years may pass – I still cannot get over Steely Dan or Brian Eno or Aphex Twin or Underworld … its all in there *head*
For a little taste of what’s to come I’ve attached Mount Shiva, a song from Dark Robot and some of my favourites from his earlier tracks. Dark Robot will release later this month on iTunes, Zune, Spottify ZeroInch and his own website. Watch this space for more!