Is that your voice on the track at the beginning?
Unfortunately, no. It’s L.A. Williams and his Terminal Velocity back from 1995.
The podcast sometimes sounds as if it was made not by Lutto Lento, but by DJ Tiger. Tell me more about that alter ego of yours.
Ah, yeah, I still perform under this name sometimes. DJ Tiger’s mixes are usually faster, more emotional, and full of tension. When recording this mix, my aim was a bit different. I was trying to blend oldschool ass-jacking techno from labels like Djax-Up-Beats or Pro-Jex with dubstep, which often places kicks around half of the tempo of these techno tracks. Dubstep tunes usually have loads of free space too, which can be filled with lovely, hard jerking rhythms. I think the mix bumps around 140 bpm.
Similar sounding music, with the likes of Helena Hauff, Dax J or even Nina Kraviz, could be found in articles about the future of techno. However, it is also often said that techno will move towards its non-rhythmic side. Who is about to win — rhythm or its absence?
Many people now use the term “techno” when talking about the whole dance music, and the term “ambient” referring to tracks that are not based on rhythm. The most fascinating thing for me is to observe, analyze how music genres mutate, evolve, bloom and recombine by exchanging ideas, patterns and techniques with each other.
You made a dancehall mix for Resident Advisor, sampled Enya; sometimes you play hardstyle; you make, let’s say, hard-to-dance-to lives, you have released noise and new age. What else do you like in music?
I like this recent Migos’ album a lot, Emoji A Chain and Too Playa are my two favorites.
Speaking about dancehall besides your mix for RA, you also hopped into Mosca’s show on NTS Radio with that kind of music. Tell me more about your sympathy towards dancehall.
Right, Mosca asked me to do a short mix for his NTS radio show, so I went there with a bunch of 7” dancehall riddims again. The great influence of Jamaican sound processing techniques on whole contemporary Western music is simply undoubtable, and the inspiration can be endless. Bake recently wrote this thing on Twitter: “Mark Ernestus once told me that if you don’t like reggae, you can’t like techno”.
You were a part of Transatlantyk’s “Polo House” compilation, that was “an attempt to present high quality underground dance music coming from Poland”. What can you say about house segment of Polish electronic scene?
I’ve always been trying to avoid getting too close to any music scene, at least in terms of my own work. There are many DJs and collectives with original approach to the whole club music scene as well: Syntetyk, Oramics, Mestiço, Bas, Szkalunek, to name just a few from Warsaw. The great success of Brutaż definitely gave a proper energy boost to a lot of people who have similar approach.
If we’re talking about Polish electronic scene, let’s come from its other side – what are the most interesting names of your experimental scene?
There are loads of labels and collectives now, so go check Bocian, Bôłt, Monotype, Pointless Geometry, Wounded Knife, Pawlacz Perski, Czaszka, Instant Classic, Latarnia, Magia, Mik Musik, Intruder Alert, Jasień, enjoy life, dym, Trzy Szóstki, Refined Productions.
As a person who started from releases on cassettes and 128kbps mp3s, what is your opinion on lo-fi house hype (a little out of date, but anyways)? Could it have some connections with early releases?
This lo-fi approach got stuck pretty quickly in an extremely flat and uninteresting cliché.
You wrote the soundtrack for “All These Sleepless Nights” (“Wszystkie nieprzespane noce”). To what extent does this movie represent contemporary Poland?
The movie is a beautiful, well-crafted collection of positive or even idealized intimate memories of Poland which is struggling with loads of heavy social and political problems right now.
You make music for movies — and theatre plays as well. How is it different (I’m talking about production process) in comparison with making your own releases?
I don’t separate it too much these days, to be honest. For me, composing is all about trying to reconstruct, or build up from scratch, some very special moments. Music is a narrative thing, and I always tend to create a story by putting together these tiny puzzles.
I saw your releases on Discogs as Lutek in 2008 and as Lutto Lento since 2011. What happened in between?
Different bands and intense high school time.
Your label DUNNO Recordings started with releases on cassettes and then switched to vinyl, you re-released some of your cassettes music on vinyl too. Have you ever thought of making backward step – from vinyl to cassettes?
I don’t really feel like it would be a backward step, both vinyl and cassettes are great formats and it’s not like one’s better, the other worse. Some music just fits perfectly to a 7” record, other works best as a C60.
You said you were sipping purple Gaza Vybz Rum while recording the mix for RA. What do you recommend to drink while listening to this podcast?
I’d go for some sharp and bitter Fernet Amaro.