Sat, 07 Jul 2012  /  Post a comment
project B4CK6ROUNDNO1SE, Panel Trax, about my music...
1. Can you tell me about B4CK6ROUNDNO1SE? Can you explain the concept of backgroundnoise?
In 2009, with my friend Maks, we have founded Panel Trax records, mostly aiming to release our own tunes independently. By the end of 2011 Panel Trax outgrew itself that much, that practically we didn't release our tracks. I have quite a lot of music, I'm a pretty productive producer.
Then I tought I will make a separate label, where I really can release my own tunes anytime. That's how Panel Trax's little brother was born. As my music, I do the label perfectly aloneso, I'm completely independent from everything. I release whatever I want and wheneverI want it. Therefore with B4CK6ROUNDNO1SE I have more experimental or occasionally harder or even more minimalistic tunes released. In the past few years a noisy, dirty sounding has evolved in my music, these tunes I favour under my label. Many are fighting against the noises generated by machines, in turn they can be used very nicely.
2. Can you tell me about your solo production as Synus0006?
I produce music for long time, I don't know form where it counts as a hobby, it started as fun to entertain myself. I never looked at what's the trend, what's the current way to go. I don't even listen to that much techno, that I would be up to date. Anyway, I don't even listen to much techno at home. Mostly I listen to indie, electroclash, electropop, my own trax so I wouldn't say that the current techno scene has an impact on my music. So, I just do it the way I like it.
I consider myself relatively special, as I put a track together very quickly. I can write a good tune in not more than 2-3 hours. I don't even edit it, but record it live, this way the whole thing is a bit more living. In every track I have got something of a torsion which takes it. That's the core of it. The sounding and the atmosphere are also unconcious, it is what it becomes. I like it this way.
3. How do you make your music?
It happens a lot, that I just sit down to the machines and play around with the sounds. Even if I know I have only got half an hour. Therefore I can say I'm practicing a lot.
Most of the time I start with the core of the track. I make a sound which I can have a long play with. When that's done, I try to make a complete track from it. I put some sounds under it (kick, hats, clap, etc). I use very a few sounds, sometimes only 3-4. No need for frills.
Once the sound are made, I have a notion about the build-up of the tune and I start recording the 'play'. At times I cut it afterwards, which makes it a bit more interesting. By the way, I use Reason and hardwares.
4. Can you tell me about your latest release? It has quite dark, industrial atmospherics. Is that something that interests you in rhythm-based music?
The compilation of B4CK6ROUNDNO1SE XX3 EP was a quick thought. I have quite a lot of unreleased tunes. I assorted the tracks of mine which were made about the same time so thus their mood or sounding would be similar.
I tried to keep the words, background noise, in mind. These tracks are all noisy, here and there hollow, dirty. Generally it's the noise or dirt what gives atmosphere to them. I love tunes like this a lot. Compared to the earlier releases, this one might be a bit more experimental, more intriguing.
5. What is the state of techno scene in Budapest and Hungary right now?
The Hungarian techno scene, in my opinion, is pretty bad. I don't know how it stands in other countries but I don't like the situation in Hungary. I can hardly mention a party where I would like to go, I can't line up 5 Hungarian producer whose music I would buy. Panel Trax, B4CK6GROUNDNO1SE and also myself stand for the underground stream, but this is exactly what's missing in this country. There are a few organizer teams making parties on a regular basis, but, I think, most of them is shit. Hungarian people are behind a couple of years. If one wants to make a party, they undetake a hard thing. It's almost sure that it's gonna be non-making. There is a lack of good clubs, people don't have money to spare on party tickets and they have preconceptions hearing the word: techno.
Mon, 10 Oct 2011  /  Post a comment
01> Zoltan Solomon – Carina Nebula
02> Hironori Takahashi – Blue End
03> Ozka - Geometrix
04> Alessio Pili – Caos In Da Head
05> Peshuma - Maximales
06> Maks – Spiraal
07> Cema - Semisphere
08> Laslowb – Dirty
09> Matt Saderlan – Support
10> Synus0006 – Blackhole
11> Chance McDermott – Back In The Day
12> Martin Mueller – Soul School
13> Plural – To The D
14> Alexander Dniel – Matmas
Two years ago Maks and Synus0006 launched the Hungary, Budapest based Panel Trax Records. Despite not following the actual trends their releases attracted international attention all over the planet. To celebrate the two-years anniversary Panel Trax is about to release a complitation in October, Panel Trax 020. Panel Trax frequently collaborates with a wide range of artist, containing both older and newer talents. PTX020 will comprehensively reflect the versatility of the label by fourteen trax.
Here we would like to say thank you for those who supported our label by playing and charting Panel Trax releases, namely for: Jonas Kopp, Dj T-1000, Ben Klock, Audio Injection, Vince Watson, Electric Indigo, Paul Mac, Donnel Knox, FBK, Jim Rivers, Oliver Koop, Fanon Flowers, Myles Sergé, Phrek, Rossella, Katzo, The Clairvoyants, Len Faki, Fine Cut Bodies, Tim Wolff and so on.
Last but not least we would like to express our gratitude to the contributing PTX artists, to:
Cema, Chance McDermott, Hironori Takahashi, Plural, Ozka, Ascon Bates, Sascha Müller, Whan, Thomas Grinder, Rossella, Alexander Dniel, Matt Saderlan, Alessio Pili, Soft Embrace, Zoltan Solomon, Peshuma, Martin Mueller, Oushanmete, Laking and Zajac