Influences: Lucy

One of the movies that really managed to dive so deep into me that it ultimately changed my aesthetic in music making. In particular this section is a monologue that happens to the Writer, an angry and stressed character in fear of losing his inspiration, after a “Zone’s trap” encounter. This is a peak moment in the art of Tarkovsky where the dystopian settings from the outside and the most intimate human mental labyrinth from the inside come together in a very interesting way, that echoes in me in those greatly creative moments that I experience in my studio.

Very recently released, this one is a stand out for me in the contemporary panorama of electronic music. The great ability in sound manipulation in the direction of a very modern form of psychedelia is astonishing. Very inspiring, also the use of vocals, which I am often very interested in, and actually quite present in my most recent studio works (mostly unreleased yet).

Released in 1972, it is the b-side of the second album by Krautrock legends Ash Ra Tempel. A 19 min odyssey into sound and space. I remember the moment I discovered this one as a very important to my music development. The use of reverbs in such a creative way, not only in its classic purpose of giving space and position to sounds, but mainly as a real instrument. Interpretating reverb as instrument instead of an effect unit is still today a core element of my studio workflow.

I remember playing a Berghain closing with this one as the very last track of a 13h set. Similar experience at De School in Amsterdam more recently, during my first all nighter there. Experiences like that, playing very extended marathon sets in places that for me represent the very pulsating core of contemporary dance music culture, requires an important choice in how you decide to close it. Few tracks as this one manage to capture such a complex and intense emotional landscape, the absolute perfect sound abstract of the magic that happens in those moments.