Dans le coin d’un disquaire la russe OMMA a interviewé le producteur russe OL pour Utopie Tangible. Ils seront tout deux présents pour ravir vos oreilles le 15 Mai prochain pour la soirée ‘Renouveau‘. OMMA face à OL. Olga face à Oleg.
Basé à Moscou, OL est membre de différents organisation telles que le label GOST ZVUK ou encore Deficit Records. Après avoir sorti des EP chez notamment Wilson Records avec son EP ‘Pobeda’ ou encore sur le label français Face Records, parent de celui de Motor City Drum Ensemble, Oleg a réussi s’imposer avec un son mélange de Détroit et Berlin. Hip-hop, soul, jazz, l’ère post-soviétique; autants de composants qui lui confèrent un son atmosphérique et percutant à la fois, granulé à souhait.
OL, Based in Moscow, leading member of GOST ZVUK and WILSON RECORDS, well known Italian label based in London with Pobeda Ep. His tracks are a polyrhythmic and anfractuous mix of beats with deep bass rumblings and complex atmospheric sounds. The rich tradition of the Soviet Union contemporary electronic music composition is basis for how the mood changes and sound in OL’s tracks. He released several releases on french Faces Records, which is the parent Label of Motor city drum, making heads turn from LA to Tokyo with his blend of textured atmospheric beats. OL’s dusty house productions sound like they would be birthed out of Detroit or Berlin. Deeply drawn to hip-hop, soul, and jazz at a young age, he is most heavily influenced by all types of Soviet-era art and media.
- It is interesting to know, what do Russian people think about the French electronic scene? Who do you know and respect?
Oh! I remember in the end of 90s i watched live broadcasting of Jean Michel Jarre who performed in moscow – It was Huge! I was impressed by his music, immensity and professionalism.
Also in my childhood i was influenced a lot, by french house like Laurent Garnier, Daft Punk, specially by Homework album , Mr Ozio sounds and clips. His steak movie is great. For sure all this french mood from 90s was impacted on my dance music.
As for the current scene, I know Bamboon from the Cleck Cleck Boom record label and Kourtrajmé.
– this is one of his videos that I like Histoire d’un Morceau Funk.
- What is your music production setup? Can you show as an example from one of your tracks?
Hmm, quite simple… A couple of synths like the Waldorf Blofeld / Access Virus C (usually, I borrow it from my friends), also an MPC1000 and a bass synth Shruthi XT for sketches in mono.
Usually I start my projects playing hardware devices and then I complete them (arrangement) in Ableton Live.
Here’s an example:
For this track I used a drum pattern and pads from the MPC and then I synced it with the Waldorf bass sequence, afterwards I put some post fx in Ableton Live and took a sample of a woman’s voice from soviet movie ‘Once Again for Love”
- Imagine you have an opportunity to write a new album or an EP wherever you want and with all expenses paid, what would your ideal working conditions be? (Taking the Trans-Siberian train, for instance, or in Tibet, or a swimming pool in LA)
Most of all I like listening to music in a car. So I would choose a car with a driver taking me someplace in Russia.
Or also a submarine – it has a perfect silence and a chance to see the world underwater.
4. What kind of devices or skills you think you lack and you would like to buy or develop?
THE BRAIN – hehe
Sometimes there are situations when I’m making music and I feel that I am lacking certain simple academic skills in playing a musical instrument, but on the other hand, there is a reason why I don’t go ahead and learn, the fear of losing or changing my current perception of music, this fooling around which lets me express myself more sincerely in music forms.
- What kind of creative processes help you develop yourself, besides music? Or what activity helps you advance in music?
I think that through Djing I find new ideas and new approaches. I want to make the kind of music I could play on the dancefloor.
Also, I like to think that cooking is similar to making tracks…You are using different ingredients, spices and making a single product.
The street culture as well, back in the 90s I used to skate a lot, hang out with my friends and listen to Wu Tang Clan a lot, A Tribe Called Quest, Mos Def, Madlib and when I got my first computer I started experimenting with music software instead of playing video games, which my peers did a lot of. That’s how some of my first tracks were born. Then later, I saved some money and bought myself an MPC1000.
- Do you know the Mighty Boosh series where they were looking for the perfect sound? What’s the ideal sound for you?
- What artists can you suggest to listen to from the Russian scene?
Gost Zvuk – a Russian not-distorted aesthetics label ,
Lapti – talented artist / he has a unique vision which reflects Russian Identity transformed into beat music
Butechno – the most promising representative from the new Russian electronic scene
and of course – check Vtgnike
- Your first EP was released on a French Label (FACES) in 2011…It was more hip-hop, chill music. Now you release more deep, house music as in your POBEDA EP. What prompted you to change your genre?
Djing and the nightlife changed it in a way, I think. But the groove is the same, hip-hop, bass, house… It doesn’t matter which genre, it has the same flow.
- You are a big music collector, music admirer, vinyl lover. And now you have your own vinyl shop called DEFICIT records. Close your eyes and say what first comes to your mind, I know it’s a hard question! But name your 3 current favourite vinyl records.
- Nu Guinea – World EP Tartlet records
- Theo Parrish – Baby Steps ( 1996 )
- Bjørn Torske – Nedi Myra
- And our traditional question at Utopie Tangible: what would be your dream utopic collaboration? It can be with anyone, dead or alive, in any kind of a setup or place.
with MILES DAVIS or Roy Ayers !
But if it would be more Dub – with Moritz von Oswald
OL et OMMA seront présents à la soirée du 15 Mai 2016 sur la scène Utopie Tangible. OMMA en à même profiter pour nous faire un podcast, juste en dessous.