Planetary Interscapes— Episode three – Nies

Planetary Interscapes
— Episode three

“Learning and Forgetting and Learning Again”

Sound mixed and compiled by Nies
Visual interpretation by Max Binski

Welcome to the Planetary Interscapes podcast series. 10 years after its debut on Pluie/Noir and 90 audio-visual podcasts later, the series is reborn in collaboration with Rings of Neptune. Planetary Interscapes will follow the same motto and feature audio collages, mixes, live interviews, and live recordings from artists, friends, and other collectives we admire, visually interpreted by our favourite graphic wizards.

We’re delighted to welcome Nies (aka Denise Pakes) to the series, presenting a musical selection that gracefully transcends time and space. Bruno and Denise share a connection that spans over a decade — rooted in countless musical collaborations and a deep, enduring friendship. Having Denise in the series was not only long overdue but truly essential. The video artwork was created by Bruno, under his audio-visual alias Max Binski. Scroll down to read the interview, pour yourself a cup of tea, press play, and enjoy.

INTERVIEW — NIES

A pleasure to finally have you in this series. How are you, dear?

My pleasure too, dear. Thank you for the invitation—it’s an honour to be part of the Pluie/Noir Interscapes series. I’m moving with the currents of change, both personally and creatively. A lot has been shifting recently, and I’m trusting the process, even in the midst of the storm.

Your journey with sound has taken many shapes over the years. How would you describe your artistic evolution and the main influences that have shaped it?

My background is actually rooted in the visual arts—I studied Image & Sound at the Art Academy and Conservatory in The Hague, where I explored video, installations, and live visuals. Early on, I was working with VJing, first using VHS tapes, then dia, overhead, and film projectors, experimenting with analog and digital formats. But over time, I felt an increasing pull toward sound as its own expressive medium, beyond its role as an accompaniment to visuals. I wanted to understand sound more deeply, especially in terms of composition and spatial diffusion. This curiosity led me to Paris at INA GRM, where I completed a master’s degree “Création Musicale & Arts Sonores”, an institution that had already been a major influence on my sonic explorations. Studying there was a dream come true—learning directly from some of my favourite electroacoustic and acousmatic composers, and immersing myself in techniques that expanded my perception of sound. It brought together many aspects of my creative practice, allowing me to explore multichannel sound diffusion, spatial composition, and the sculpting of sound in a way that felt almost physical. 

I come from a more experimental background, both in audio and visual arts, these two elements have always been interconnected for me. They feed into each other, and I approach sound with a visual sensibility — textures, depth, and movement.

“For me, creating a mix is never just about selecting tracks—it’s about
capturing a moment in time, a feeling, a subconscious narrative that unfolds
as I go. I approach it very intuitively, letting myself be guided by the flow rather
than overthinking it.”

Your mixes and soundscapes often blur the lines between DJing, storytelling, and sonic experimentation. What’s your approach when curating a mix, and how does intuition play a role in the process?

There’s something almost magical about that process, allowing one sound to lead naturally to the next, as if it’s already mapped out in some invisible way. It’s about surrendering to the moment—when I stop interfering and just listen, everything seems to fall into place, like happy accidents meant to be. I also love playing with words in the same way—cutting them up, rearranging them, and creating new meaning from fragments. This approach directly translates to my work with sound, where I treat textures, voices, and rhythms as pieces of a larger sonic collage. 

The Poèmes Électroniques series was born from this idea. I had been writing a lot of cut-up poetry, and I wanted to bring these fragmented narratives into a sonic space—merging spoken word with layered soundscapes to create something fluid and immersive. Ultimately, my mixes are about storytelling, but not in a linear way. They are abstract narratives—something felt rather than explained, a journey where every listener might take away something different. It’s this open-ended nature that keeps the process exciting for me.

“Coming from a visual background has had a huge impact on the way I approach sound.“

Can you tell us about the mix you created for this episode? Was there a particular
concept, mood, or narrative guiding your selection?

“Learning and Forgetting and Learning Again” came from a personal period in my life. I was experiencing a neurological issue that put intense pressure on a nerve in my head, causing memory loss in my daily life. Simple things would slip away, like they had been erased, and it gave me a completely new perspective on learning, remembering, and how fragile those processes can be. This mix is a reflection of that time—a sonic exploration of forgetting, relearning, and the cyclical nature of knowledge and perception. It also touches on the idea that learning never truly stops, but sometimes we have to unlearn in order to absorb things differently. That process of erasing and rediscovering became the core of this mix. I structured it as a sound collage, where moments appear and dissolve, fragments weave in and out, and memory itself feels fluid rather than fixed. The opening and closing tracks were clear from the start, also as a kind of homage to Ryuichi Sakamoto, while everything in between was woven into a sonic tapestry—an ever-evolving landscape of atmospheres.

“Space plays a fundamental role in how I create and experience sound“

 
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Beyond DJing and music composition, you’re involved in other creative disciplines. How do these different mediums inform and inspire your work with sound?

For me, sound and image are in constant dialogue—one can inspire the other, and often they merge in unexpected ways. I love composing sound for visuals, but also the reverse—creating music and then finding an image that somehow fits, as if they were always meant to exist together.
There’s something magical about that kind of synchronicity. A lot of my inspiration comes from daily life, especially through movement and observation. Walking with our dog is a big part of my process—it forces me to slow down, to listen deeply, and to see details I might otherwise overlook. I often take photos of small textures, shapes, or patterns I notice along the way, or record environmental sounds that catch my ear. On the moment, I don’t necessarily know how they’ll be used, but they always find their way back into my work in some form. It’s like collecting fragments of the world, pieces of a larger puzzle that will later reveal their place.

photo_2025-03-29_13-22-37

What role does space—both physical and conceptual—play in your music and
artistic expression?

I’m fascinated by how we perceive space—how sound interacts with an environment, how it moves, how it shapes our sense of place. When composing or performing, I think about space not just as a backdrop but as an instrument itself. This is especially present in my work with multichannel speaker systems like the Acousmonium, where sound can physically move through space, creating an immersive, almost sculptural experience. Spatialization—how sound is positioned and diffused—adds another layer of expression, allowing me to guide the listener on both an audible and physical journey. I also work with psychoacoustics, exploring how sound can alter perception, and I’m deeply interested in sound as a form of memory—how a space carries its own sonic imprint. Whether it’s field recording a specific location, composing site-specific pieces, or working with what I call sonorigins (sound origins tied to heritage), I see sound as a way to capture and preserve the genius loci—the spirit of a place.

Over the years, you’ve been part of collectives and communities that emphasize collaboration. How important is that aspect of creation to you, and how do you navigate the balance between personal expression and collective synergy?

Collaboration is something I deeply value because it creates possibilities that wouldn’t exist otherwise. When you work with others, you open up new perspectives, new ways of thinking and making that you couldn’t have arrived at alone. It’s a process of exchange, of allowing something unexpected to emerge through shared creativity. At the same time, personal expression is essential—it’s where you refine your own voice and develop your artistic language. I love working solo, diving into my own world, but I also find that collaboration brings a kind of expansion—it stretches you beyond your habitual ways of working. I think the key is balance: personal creation gives you a foundation, and collaboration allows you to break beyond it. The two feed each other in a very organic way.

Looking ahead, are there any upcoming projects, collaborations, or creative directions you’re excited to explore?

There’s a lot unfolding right now that I’m really excited about. With RON, we’re shifting into a new phase that feels very aligned with where we are creatively. We’re focusing more on creation in a broad sense, for sync purposes, exhibitions, listening sessions, and collective collaborations. It feels like a natural evolution, and I’m looking forward to seeing how it takes shape.
I’m also working on Gazon with my man David, which is a project we had set aside for a while but recently picked up again. It’s bringing us a lot of joy, and it feels like the right time to dive back into it.
Another area that’s been inspiring me is radiophonic composition. Working on Poney.FM’s radio platform has sparked new ideas, and I want to explore that further. I created a radiophonic piece for Sonic Heritage, which ties into my love for sound preservation and site-specific storytelling and I just finished an EP for Caracteres, a label from Quito, Ecuador. In process with new works, which are  reflections of recent experiences I translate into audiovisual works.

If you could soundtrack any film, exhibition, or moment in time, what would it be and
why?

If I could soundtrack a moment in time, it would be the expansion of the universe. This theme has been deeply present in my life—not just as a scientific concept but as something that sparks wonder and imagination. Every night, I read to my son from books by astrophysicists like Hubert Reeves, exploring the Big Bang, cosmic evolution, and the latest research about the universe. It’s a beautiful ritual, one that blends science with poetry, fact with the unknown. What fascinates me about the expansion of the universe is that it’s both an ongoing event and something beyond human comprehension—constantly unfolding, shifting, and evolving. Sonically, this could be an endless exploration of textures, frequencies, and spatial depth, mirroring the vastness and motion of the cosmos. There’s something humbling about contemplating the scale of it all, yet at the same time, it connects to something profoundly personal—our own inner expansions, our growth, our learning, our ability to shift perspectives and marvel at the universe.

What’s something you’ve been deeply inspired by lately—whether music-related or
beyond?

Lately, I’ve been very inspired by being in the moment. It’s something I’ve been reading more about—this idea of not letting the ego interfere, not dwelling on the past or obsessing over the future, but just being here. It’s such a simple idea, yet it’s one of the hardest things to practice in daily life. Becoming aware of when the mind slips away and gently bringing yourself back—whether through music, movement, or simply observing the present moment—has been an ongoing exploration for me.
This theme has also made its way into my creative process. I’ve been thinking about how creation itself can be a way to stay present. Instead of viewing it as an outcome-driven act—where you’re focused on a final product—it can be a form of meditation, a practice, a way of grounding yourself in the now. When I’m fully immersed in making something, I’m no longer lost in past thoughts or future worries. It’s like shifting from the mind into the body, letting intuition take over. That’s actually where Sonic Meditations came from. I wanted to translate this idea into sound—a series of guided sonic collages inspired by books and practices that have helped me feel more centered. In a way, it’s how I process the world around me, offering a sonic space where the listener, too, can slow down and reconnect.

Tracklist:

Life, Life ~ Ryuichi Sakamoto
The Painted Room ~ Lisa Lekerfeldt
Hyphae ~ Gonubie
Tooth, Wallflower ~ Li Yilei
Sous Espace ~ Accalmie
Little Faith ~ Gigi Masin
4U ~ Nueen
Under ~ Hviledag
Levi’s Synth ~ Khotin
Till Hurricane Bisect ~ KMRU
Pallet Fork ~ Madelyn Merkey
Flaurent ~ Ilkae
Anti-Stress for Babies & Families ~ Suso Saiz
Everything, Everywhere ~ Alaskan Tapes
Fullmoon ~ Ryuichi Sakamoto

Lastly, tell us about your future plans.

After 12 years in Paris, I moved back to my home country; the Netherlands. It feels like the right time—there are many exciting developments happening here, and I feel like there’s more space to create.
I like to focus more on working in live settings. I recently did my first spoken word live performance, which was completely out of my comfort zone, but it opened up something new—another layer of expression that I’d love to explore further. Another focus for me is blurring the lines between image and sound, exploring new ways to tell stories through both mediums, and experimenting with multichannel compositions across installations and live performances.

But beyond all that, I remind myself that everything is always in process.
There’s no fixed destination, just an unfolding path—one that I’m excited to keep following.

Links:

www.instagram.com/soundslikenies
www.soundslikenies.com
www.maxbinski.com

Feedback Waves 001 – Palomatic

Feedback Waves – the new imprint from independent label Rings of Neptune – is proud to present Trill, the first and only album by Palomatic. Almost thirty years after its original release on CD in 1995, this beautiful nine-track work is now available on vinyl for the first time.

Palomatic is an alias of Koji Takahashi, an active member of the bubbling Japanese electronic music scene of the early-to-mid 90s. Besides his solo work, he was a core member of Takahashi Tektronix (with Nic Yoshizawa) and Mutron (with Kiyoshi Hazemoto, aka Interferon), as well as working as a synth programmer for supergroup Denki Groove.

 

Following the release of his debut track ‘Halo’ on Syzygy Records in 1993, Takahashi made a series of contributions to compilations on the scene-defining Transonic label. His first and only full-length album, Trill, combined these tracks with original material to form an absorbing and versatile standalone statement of the Palomatic sound.

From the oscillating lilt of ‘Flutter’, which opens proceedings at a measured 104bpm, through to the symphonic epilogue of ‘Soar’, Trill is rooted in the fertile territory between organic and synthetic sounds – ground that was nourishing the work of many likeminded producers worldwide at the time. West Coast psychedelia and East Coast funk, the moody bass weight of Bristol trip-hop and Sheffield bleep, and the chemical rush of German techno and Belgian trance: with a distinctly Japanese sensibility, Trill drew these strands together into an elegant musical tapestry. The result is timeless – indeed, album centrepiece ‘Foaming Waves’ would sound right at home on the faster-paced dancefloors of today.

 

This double LP features an alternative artwork by Feedback Waves co-founder Max Binski.

Get your copy: https://blackroundtwelve.com/product/palomatic-trill/

Planetary Interscapes 002

Planetary Interscapes
— Episode two

“13357”

Sound mixed and compiled by Karolina & Piotr
Visual interpretation by Max Binski

Welcome to the Planetary Interscapes podcast series. 10 years after its debut on Pluie/Noir and 90 audio-visual podcasts later, the series is reborn in collaboration with Rings of Neptune. Planetary Interscapes will follow the same motto and feature audio collages, mixes, live interviews, and live recordings from artists, friends, and other collectives we admire, visually interpreted by our favourite graphic wizards.

It took us a while, but here we are — episode two of Planetary Interscapes, “13357”, powered by Pluie/Noir and Rings of Neptune.

We welcome Polish talents Karolina & Piotr to the series with a musical selection that undoubtedly stands the test of time. Artwork by Cleymoore, signed as Max Binski, giving the honours to the fresh reboot. You can scroll down for interviews, serve a nice cup of tea, press play and enjoy. 

Karolina & Piotr

INTERVIEW — KAROLINA & PIOTR

Hi Karolina & Piotr, welcome to the P/N Interscapes series. How have you been?

We are good. We had just finished food and sat on the stairs at Frankfurter Tor, observing people and chilling.

Are you both living in Berlin? Did you meet here or in Poland? Why Berlin?

Yes, we are both living in Berlin. We’ve had some common friends in Poznań, Poland and we met there, but we became friends in Berlin.

Piotr: For me, it’s been seven years in the city. When I was still in Poland, I reached the point where I wanted and needed change and a fresh start. Moving to Warsaw was also in the picture, but I decided to start in a new country. Berlin’s electronic music access and offer was, of course, one of the main motivations. 

Karolina: I have wanted to move to Berlin since 2013 or 14 for similar reasons. Access to events and music, which Berlin can offer, was a big one for me, but I also wanted to live abroad. It took some time for this dream to come true, but finally, in 2017, I arrived here to stay (following my first Get Perlonized and Melliflow weekender at Hoppetosse).

“In recent years, the Polish underground music scene has become much faster than it used to be (like many other scenes in different countries).”

How’s the underground scene in Poland? Is there a space for the sounds you both explore?

In recent years, the Polish underground electronic music scene has become much faster than it used to be (like many other scenes in different countries). As a result, a big part of the club audience doesn’t see genres like minimal, house, and deep as music to enjoy during the prime time, but rather as a background for party pregame. More intense styles are more popular currently. So, as you can imagine, there is no massive space for ambient. However, a few significant initiatives like “Salon Ambientu” are conducted in different cities across Poland. We definitely see the potential to develop spaces and events with ambient music in our country.

Is ambient music and sound healing a common interest? Is the interest in such music and settings rising? 

Absolutely. We see a rise and increased interest in slower paces, ambient stages and experiencing electronic music that way. From our perspective, ambient is mature music and life experience (or getting older, haha) can allow listeners and also us to explore these sounds. It can be more needed than ever, especially in the fast-changing, eruptive times we’re experiencing now.

Karolina: I feel that there is a lot of potential to introduce many new people to the listening experience of electronic music. It’s different from the usual format, but every clubgoer needs to chill from time to time. When I speak with friends or people who are into electronic music, plenty of them never thought that ambient could touch them and that they may spend a big part of the evening or night on ambient/downtempo stages in clubs and festivals. 

“It’s different from the usual format, but every clubgoer needs to chill from time to time. When I speak with friends or people who are into electronic music, plenty of them never thought that ambient could touch them“

Apart from Piotr’s Late Night Shift Recs and Karol’s Cosmic Interviews, what other projects are you working on (separately or together)?

Piotr: My main focus is on the project with Karolina and starting my own label. I have been playing very sporadically for a long time, which has allowed me to think about my direction. The fact is that I have a great affection for music and cannot imagine an everyday life without it. There has always been a need for me to leave something tangible in this field, and thanks to the talented artists in Poland, I decided to start a label that will focus on promoting Polish artists who explore deeper sound. I have always associated minimal, deep or minimal-techno music with long sets and endless parties, so I decided to call my label Late Night Shirt Records. I will be pleased to release the music of great Polish artists such as Serasso, Aleksander Erdmann, Elvira, Schrill, and Gogan on the first records. The whole thing is not just music. I want to create a platform that brings together Polish artists from various art forms. Therefore, the graphic design is the responsibility of a visual artist from Wroclaw, Feliks Marciniak. The album’s first cover was created by an artist from Pomerania, Piotr Pastusiak. Soon, we will start with the promotion of the first record! Stay tuned 🙂

Karolina: After conducting interviews by myself at Cosmic Podcast and later with Lorenzo Chiabotti at Planet Release, I feel like my role in talking and discussing electronic music has ended. In recent times, I put my focus solely on music and swam away from journalism. Apart from digging and mixing records, I’m focused on conducting sound baths using singing bowls (also Tibetan bowls) and mixing ambient records live. I’ve been inspired by numerous sound baths attended earlier this year – from singing bowls, gongs and tuning forks. After lots of practice this summer, I’m working on bringing this project to the wider public. Things are in progress.

Karolina · Cosmic Interviews vol.24 – Jeyoh

“‘The whole thing is not just music. I want to create a platform that brings together Polish artists from various art forms. “

 
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Tell us more about “13357”: How, why and when was it recorded?

In 2022 our friends Gabriela and Robbin, founders of the Zeevonk project, created a beautiful 3-day event dedicated to the fauna and flora of deep seas and oceans and was called “Underwater Love”. They invited us for opening day to play ambient, downtempo tunes, representing how we see underwater life. We were invited to play separately but decided to try playing together. It worked very well, but we didn’t record it at the event. Afterwards, we decided to do a recording session similar to Zeevonk’s Underwater Love selection. We were very happy with the result, so we started doing it regularly in one of the apartments. This mix is a result of the second session. We didn’t want to keep these mixes for ourselves but share them with others, so we started researching suitable platforms (like yours). 

Short, medium and long-term goals?

We aim to continue recording sets and publish them on beloved and respected platforms. As a second goal, we would love to play together in one of our favourite places – CDV, Hoppetosse etc and a nice festival. The ultimate goal of this project is to explore music and have fun!



Links:

www.instagram.com/_cosmic_carol/
www.instagram.com/eyeseeyoup/
www.soundcloud.com/karolina_j
www.maxbinski.com

 

Planetary Interscapes 001

Planetary Interscapes
— Episode one

“Heavy Meadows”

Sound mixed and compiled by Clovis
Visual interpretation by Max Binski

Welcome to the Planetary Interscapes podcast series. 10 years after its debut on Pluie/Noir and 90 audio-visual podcasts later, the series is reborn in collaboration with Rings of Neptune. Planetary Interscapes will follow the same motto and feature audio collages, mixes, live interviews, and live recordings from artists, friends, and other collectives we admire, visually interpreted by our favourite graphic wizards.

Hiatus over, Pluie/Noir podcasts are back, this time with a name little name change, in anticipation of a new collaboration with Rings of Neptune. This podcast has been ready for over a year, but the series was put on pause due to the uncertainty of Pluie/Noir’s next steps.

We’re delighted to welcome Clovis to the series. Clovis’s music selection is remarkably timeless and perfect for the last moments of Winter (in the Northern Hemisphere, mind us). Artwork by Cleymoore himself, signed as Max Binski, giving the honours to the fresh reboot. You can scroll down for interviews, serve a nice cup of tea, press play and enjoy. 

clovis

INTERVIEW — CLOVIS

Hi Clovis, welcome to the Planetary Interscapes series. How have you been?

Thank you. I am finally feeling back to life again after the strange time warp of the last two years.  

You recently moved back to Berlin? Is this a long-term goal? Why Berlin?

I left Berlin for Bucharest during the pandemic in search of a change of scenery and to make music with my close friend Herodot in his amazing studio. Nothing much was happening in Berlin for me during the lockdowns, and I felt I needed to move somewhere to challenge myself and try something different. It was a very interesting experience, and I grew a lot in the new spaces I discovered there, but I always aimed to return to Berlin. 

My connection to Berlin is much deeper. All of my favourite friends and musical peers are here, mostly revolving around Club Der Visionaere, a fantastic musical hub where I feel very much at home. I’m very excited for what is to come now that we are normally back open for what seems like a much-needed proper Berlin summer. 

“All of my favourite friends and musical peers are here, mostly revolving around Club Der Visionaere, a fantastic musical hub where I feel very much at home.”

As an American, how stark are the differences in the musical panorama and mindset of people post-pandemic? Did something change?

The energy I felt at parties even last year after the end of the first round of restrictions was incredible. There is a whole new generation of people going out after two years of restrictions now. While many trends are exactly the same, there is an openness to fresh sounds and possibilities in the USA. 

We have a new crop of DJs and DIY crews building their own communities that are extremely important to any healthy scene. We still live under a capitalist grind and a very rigid gridlocked political system, but there is a lot of hope and gusto going around. The pandemic has really made many of us, myself included, realize the value of our cherished musical spaces and communities and how much we need them, and seemed to spur a strong reinvestment in them so that they may continue to endure against whatever obstacles come in front of them.

“We started collecting music from friends that we felt needed a home, as any label starts.“

You’ve recently created a label of your own. What’s Understory about, and how has the project been developing?

Understory was born out of myself and my best friend, and great American, Matt Foley, realising we have a very similar music ethos. We like a lot of different music styles but have very strong singular taste. We started collecting music from friends that we felt needed a home, as any label starts. The pandemic was obviously a difficult time to release your first two records….but they did well, and we are going to continue. We have a large 20+ track bandcamp compilation that just released. We collected it slowly over the last two years, and I am very happy about it, having become a big fan of this format for bandcamp during the last two years. The proceeds will be used to fund our next vinyl releases!

 

Are you thinking of investing more or your own productions too? Will we see a solo Clovis release anytime soon? 

Some of the music I made during the pandemic with Herodot will be released on his label Unanim. Some has already come out on our Understory compilation and elsewhere, like Trommel’s large Christmas charity compilation. As far as my own work, I plan to finally build my own studio in Berlin as I settle into a permanent place.    

“‘During the whole pandemic, I had been collecting a lot of music to help me relax and tune out”

 
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Tell us more about “Heavy Meadows”: How, why and when was it recorded?

This mix was recorded in early December 2021 in Bucharest when the 2nd winter of lockdowns hit everyone quite hard. During the whole pandemic, I had been collecting a lot of more ambient and experimental music to help me relax and tune out of the hysteria and madness of the world and take my mind elsewhere. 

Putting the puzzle together for this seemed daunting at first because any direction is possible, but in the end, it came together quite quickly and naturally. I think it goes through a full spectrum of emotions and feelings and is a dear collection of artists and pieces I love, put together in a way that makes sense to me. It was mixed as a collage in Ableton, without pitching any music and arranging and letting tracks work together naturally and harmonically. The title comes from something a friend said to me as a joke at CDV, and in the absence of any better idea, it seemed to fit. 

Are you performing such mixes live anytime soon? 

I’ve been enjoying exploring this kind of music live at Kranut in Bucharest during the past 2 years and elsewhere. There are a lot of new venues and events that are giving this kind of music a space to be properly presented, it’s nice that “experimental chill-out floors” and whole festivals based around this like Intrinsic are coming back! 

8) Short, medium and long-term goals?

All three: Eat more ramen.

Tracklist:

Anton Kubikov – Levitation
The Dead Texan – The Struggle
Hugo – Eone 1
Pan•American – The Cloud Room
Yo La Tengo – Acera Or The Witches’ Dance
Ryan Crosson – Anniversary
Harold Budd – Down The Slopes To The Meadow
Hotel Neon – Monolith
Max Richter – Infra 1
Brian McBride – Beekeepers vs Warfare Criminals
The Soft Pink Truth – Shall
Harold Budd – Abandoned Cities
Ground Tactics – Drealms
Shcaa – Until We Meet
Daisy Moon – Halcyon
Huerta – Plant Memory
Jon Hassell – Manga Scene
Daniel Pemberton – No Wisdom
Dan Berkson – Unity
Lenny – Making To Me
Rithma – Ambien after Vicodin
Nikolaienko – Ambianta IV
Jon Hassell – Dreaming
Mike Shannon – Her Everything
Kamran Sadeghi – Unknown Hour Of Feedback
Terry Riley, Kronos Quartet – One Earth, One People, One Love
Jonny Greenwood – Sandalwood II

—

Screenshot 2023-03-03 at 10.54.53

INTERVIEW — MAX BINSKI (aka CLEYMOORE)

Coming Soon

 

Links:

www.instagram.com/clovis_understory
www.instagram.com/clovisphotos
www.instagram.com/__understory__
www.maxbinski.com

 

Pluie/Noir Interscapes 11

Pluie/Noir
Interscapes 11

“Shake The Mind”

Sound mixed and compiled by Davy
Visual interpretation by Max Binski

Welcome to the new Pluie/Noir podcast series. 9 years after our debut we decided to press the reboot button and return to our roots. With a new format and back to a regular monthly schedule, Pluie/Noir Interscapes will feature audio collages, mixes, live interviews, and live recordings from P/N artists, friends, and other collectives we admire.

 

 Interscapes 011 welcomes Davy Vandegaer – The DJ, producer and Futurepast curator – for a very personal and bold sonic ride full of twists and turns and plenty of room for introspection. Digital artwork using gradient manipulation techniques by Max Binski, the Pluie/Noir and Rings of Neptune head-honcho aka Cleymoore. Interviews below: 

Davy 1

INTERVIEW — DAVY

Hi Davy, welcome to the PN Interscapes series. How are you feeling lately?

Hey Bruno. Thanks for having me.

Am feeling good, thank you. Especially since clubs re-opened earlier this summer, I got very motivated and excited again about the future of electronic music – and club subsistence in general. I was lucky to play in some exciting gigs already, including club Kalt in Strasbourg and Belgium at C12, Listen Festival, and Voltage, which was the first after 18 months, and to be honest, I felt quite moved by the whole thing. Fingers crossed that we can get through the upcoming winter without any major issues.

Are you keeping active & creative since last year? You feel this past period had an impact on you and your music?

I certainly did manage to keep active. Even though reality got entirely upside down, and it was quite a punch in many ways, I have to admit it impacted me in a pretty positive way in terms of creativity and time management. I could entirely focus on studio work and take my time in there, which I enjoyed a lot. At the beginning of COVID, I started finalizing many projects, structuring and labeling them, including my debut album, which I’m very excited about. If all the timings run as planned, it will be coming beginning of 2022. 

“At the beginning of COVID, I started finalizing many projects, structuring and labeling them, including my debut album, which I’m very excited about.“

Did it also have an impact on your imprint futurepast and its creative direction? Will you explore ambient and downtempo further on futurepast, on par with your podcast series?

Definitely, by perceiving how isolation and alarming news got under our skin and being lucky enough to have the chance to observe and reflect on the situation. As a result, I started the parallel “Alternative Earth” series (only digital) that focuses on more experimental music, not just ambient and downtempo but with an open mindset for many genres, even instrumental or mixed (instrumental-electronic). Indeed a bit similar to the direction of our podcast series, where the aim is to push boundaries of (electronic) music and get very personal mixes from the artists involved. 


So you’ve been working on new music? What is driving your creativity lately and what are you focusing on?

On the producing hand, I have spent most of my time making music these last two years, experimenting with different styles and concepts. There are two new aliases in the pipeline which I can’t wait to reveal, such as the projects they brought to life. I can get inspiration from many different channels: moods, exhibitions, live events, the city, nature, and just by turning knobs in the studio. It’s very often the synths and drum machines that guide me somewhere as if they knew already what had to be created that day if that makes sense.

“…by perceiving how isolation and alarming news got under our skin and being lucky enough to have the chance to observe and reflect on the situation. As a result, I started the parallel “Alternative Earth” series‘…”

 

Tell us more about your contribution to the series, “Shake The Mind”? What was your creative process and idea for this mix, when and how did you record it?

I love challenging myself to experiment with different moods and genres in a podcast and try creating a journey with it, like storytelling to take the listener to different places. With this ‘Shake The Mind‘ mix, I started picking records randomly from my experimental shelves and going with the flow, from super slow to 142bpm towards the end, which was an interesting challenge. I had created 75% of the mix spontaneously. Then I prepared a bit of an ending to it to mix the whole thing again from the start. A lot of the records in the mix had been on my shelves for 5-6 years, pretty much untouched, but knowing I would do something with them someday, so here it is.
 For that reason, this mix became quite special to me personally.

Setup used: 2 x Technics 1210MK2, Allen & Heath Xone92

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Any personal projects on your mind apart from music production and DJ’ing?  

We launched a T-shirt campaign in summer with Futurepast record label to raise awareness about the climate change crisis we are living, donating a percentage to Rainforresttrust. This organization actively protects the Amazon rainforest. I can genuinely feel connected to nature when spending time in it, taking pictures, and going on hikes. It inspires me and is where I always find a peaceful mind. Nature is by far the most beautiful art form there is, I find it. I will definitely keep trying to combine the art of sound-making and nature in my musical language. Possibilities are infinite.

Short, medium and long term goals?

Short term: A new Futurepast release is coming out mid-November by legendary Swedish trio ‘Frak.’ For decades, they have had a sound of their own, which I always admire and support! I feel honored and proud to release them. 


Medium: My debut album coming out early next year is definitely my big personal highlight. I’m counting down the days to it. I can’t wait for it to see the light.

Long term goals: To keep working with music for as long as my body allows it, improve my skills on my path, keep learning, and always prioritize curiosity and fun above all.

“My debut album coming out early next year is definitely my big personal highlight. I’m counting down the days to it. I can’t wait for it to see the light.”

 

Photos by Leandra Rollo, Rebecca Steimer, Davy Vandegaer

Tracklist: 

Healing Force Project– Analogic Prospectus – Acido
Oni Ayhun – OAR004-B – Oni Ayhun Records
Harry K. – Sense – Elektrolux
Gamma – Prang! – Big Dada Recordings
The Posterboys Of The Apocalypse – Dick Slots – Violent Turd
Duplex – P.O.M. (Time Dilation) Remix by Heinrich Mueller – Clone
Smea – Koala Grip – Börft
John Hughes Daydream – Drinking Gasoline – Cut Mistake Music
Tolouse Low Trax – Metal Tent – Antinote
Small Fish With Spine – SQ4 – Apollo
DM – untitled – Hör Zu!
John Hughes Daydream – Ebony Eyes – Cut mistake Music
B.W.P. Experiments – Download – Bonzai
Tritop – Reume – INFRACom!
Pavel Miljakov – Metal Ambience II – The Trilogy Tapes
Global Communication – Excerpts From The Land Of The Rising Sun – Evolution 17. Small Fish With Spine – The Hilltop – Apollo
John Hughes Daydream – Walk The Walk – Cut Mistake Music
Larry Heard – 25 years from Alpha – Black Market Records
Flexi – Untitled (Atelier Records)
M Gun – Intent – Futurepast
Drexciya – Habitat ‘O’ Negative – Tresor
Itinerant Dubs – Monkey – Itinerant Dub
Vintage Future – The Toxin – Underground Resistance
Suburban Knight – Night Vision – Underground Resistance
Plastikman – Digital / Divide – Novamute
Receptor – Antenas – Winsom Music
Silex – Holder – Vibrant Music
Jeff Mills – Glen21 – Tomorrow
Noisome – Dentate Gyrus – Kontakte

 

Buy the music you love — don’t stream your life away !

Links:

soundcloud.com/davyvandegaer
Futurepast Soundcloud
Futurepast IG
Futurepast Bandcamp
www.maxbinski.com

–
W: https://pluienoir.tumblr.com
M: info (at) pluienoir.com

Pluie/Noir Interscapes 09

Pluie/Noir
Interscapes 09

“You Must Sleep And Dream”

Sound mixed and compiled by Myles Greenwood
Visual interpretation by Daniel Ellwood

Welcome to the new Pluie/Noir podcast series. 9 years after our debut we decided to press the reboot button and return to our roots. With a new format and back to a regular monthly schedule, Pluie/Noir Interscapes will feature audio collages, mixes, live interviews, and live recordings from P/N artists, friends, and other collectives we admire.

 

For Interscapes 09, we welcome Myles Greenwood – The DJ, promoter, digger extraordinaire, and part of the iconic Swiss record shop Le Gram Vinyl Garden – to give us a glimpse of his vast record collection. Scalpel art and digital finish by Daniel Ellwood, the Berlin-based visual artist behind Ellwood Art. We interview both for the occasion:

Screenshot 2021-05-28 at 02.44.05

INTERVIEW — MYLES GREENWOOD

Hi Myles, welcome to the PN Interscapes series. How are you holding up?

Hello Bruno, thank you so much for having me. Things are very busy at the moment, actually. It’s been a tough, dull year for everyone, but now I’m back in the UK, I seem to have a lot on my plate.

How was it living in Switzerland? For how long were you based in Renens?

I loved Switzerland; like I said, this past year was challenging, but I can’t complain about the 8 or so years I’ve lived there; I’ve had a lot of fun. I mainly was living up in the mountains, they’re beautiful, they don’t seem real. The shop (Le Gram VG) is obviously down in Renens – it’s a sort of suburb of Lausanne. Totally different feel to the city. It’s got a great vibe, artier, and more kebabs. The last couple of years working down there with Oscar was great; I had a good routine of heading down from the mountains for a few days at a time, sorting out records, and eating kebabs. What’s not to like!

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“I helped as much as I could sourcing collections, pricing, listing, and helping with the general tasks of running the shop“

Did you start Le Gram VG with Oscar Conway when you moved to Switzerland? Are you still managing the project from the UK?

I didn’t start it no, It’s Oscar’s love child. He just asked me to get involved from an early stage. I can’t take any credit for the building or aesthetics of the shop; that’s all Oscar. But I helped as much as I could sourcing collections, pricing, listing, and helping with the general tasks of running the shop. There have been times before where I was managing it from the UK. For example, the first wave of lockdown saw me stuck in England with 5000 records and Oscar in Renens needing the stock for the shop. We managed to make it work. Part of the beauty of running a business with your best mate is it somehow always works itself out.

How is Le Gram VG standing out from the general international record store panorama?

I’m not sure, to be honest, but I hope we’re standing out. We have our core values and just go with them. I think the partnership with LEGRAM (restaurant & bar) downstairs helps. When the building is actually open, and the customers can get quality beers and wines while digging, it creates a really nice atmosphere. In terms of the music on the shelves, we try to maintain an extremely high standard. People are picky; they know what they want! I think the struggles of opening so soon before a pandemic has shaped the character of the shop.

“the first wave of lockdown saw me stuck in England with 5000 records and Oscar in Renens needing the stock for the shop. We managed to make it work.“

And the events at the shop? Did you and Oscar curate these events too? 

This was a bit of a team effort. Oscar had some great experience from booking the parties at the Polaris festival. We’d run events and parties in the mountains before. We’d often just brainstorm potential DJs who we’d like to see and go from there. The sound system was lent to us by a good friend; cars were sometimes borrowed, basically doing whatever we could to make it work.

For me, this was the biggest thing I missed in the pandemic months. The few events that we did really helped get the word out about the shop. We somehow managed to squeeze some amazing party’s out in some very stressful times. The work that goes into the events is always so worth it.

We had some close friends start to invite some of their favorite DJs from Europe to play the in-store sessions. This was another great collab between friends and artists, using the shop to host events and benefiting from the wonderful space.

“‘We somehow managed to squeeze some amazing party’s out in some very stressful times. The work that goes into the events is always so worth it.”

 

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Tell us more about “you must sleep and dream.” What were your creative process and idea for this mix, when and how did you record it?

It was recorded in late January, so deep into a freezing & snowy winter. I was listening to A LOT of ambient/experimental. Once I started digging more and more into the sound, I fell in love. For the mix, I wanted to create moments that would catch you off guard: relaxing at times and stressful at others. I hope the listener feels a range of emotions while listening to it.

You see yourself as a DJ and Record Collector? Do you intend on getting involved in the creation of music or maybe even a record label?

I have dabbled, and I mean, I dabbled in music creation. I’ve had bits of hardware at times in my life. But the passion is always far greater towards digging new music than creating my own. Maybe this will change one day, but for now, yea, a DJ/Collector only. 

"the passion is always far greater towards digging new music than creating my own."

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A label? It’s funny you say that as we’re in the process of compiling a Various Artists release from the shop. It’s a little idea and compilation of our 4 favorite tunes that have been sent in to our monthly online Radio Show. 

Short, medium and long term goals?

So haha, I don’t want to reveal too much at this moment in time. But the reason I’ve headed to the UK is to hopefully start a little project here. As soon as things are a little further down the pipeline, I’ll start telling people. But until then, I can’t say too much. Fingers crossed and lips sealed FOR NOW!

me cutting deep

INTERVIEW — DANIEL ELLWOOD

Hi Daniel, welcome to the PN Interscapes series. How are you feeling lately?

Hi Bruno, thanks for inviting me to do a feature artwork for Myles’ mix. I’ve been good, keeping as busy as possible while patiently waiting for things to get rocking and rolling once more. Had my first vaccine jab last week, which put me out of action for a few days but now I’m fighting fit again!

Are you keeping active & creative? You feel these past periods had an impact on you?

During this whole lockdown, I have had the opportunity to keep busy designing and creating, which has probably kept the wheels turning. It’s given me a chance to go back to the drawing board and look into new styles and avenues of design. Recently I have been working a lot with digital artworks and motion graphics. I specialize in graphic design for work, so it’s great to incorporate my creative side with more commercial projects. 

“my primary creative weapon of choice has been a scalpel and a black canvas which I cut and peel to reveal white underneath”

When did you move to Berlin? Do you still find Berlin and its music scene inspiring? 

I moved to Berlin 3 and a half years ago. I had set my eye on this place while still based in Leeds doing my master’s in art & design. With regular visits coming here to watch my mates spin and the unique art culture that seemed to slip in and around every corner of the city, I knew this was where I was heading. I did a couple of years in Dubai to build my design portfolio up and hosted my first solo exhibition there, then a stint in South America, and then it was time to set myself up here.

The music scene for me is growing and growing. I am surrounded by DJs and producers in their prime, so I seem to be spoilt for choice. On arrival to Berlin, I ended up shacking up with Josh Tweek from The Ghost I lived with back in Leeds. He introduced me to the tightly knit group of ‘sound heads’ that he beers with, and it’s nice to be one of the few visual artists in the group. From there, I moved on to living under the same roof as Huerta, who also offered up consistent daily bangers, so it’s always inspiring to see my mates producing at the highest level. 

 

“The music scene for me is growing and growing. I am surrounded by DJs and producers in their prime, so I seem to be spoilt for choice.”

Your style is very particular. What are your main techniques?

Since I was 15 years old, my primary creative weapon of choice has been a scalpel and a black canvas which I cut and peel to reveal white underneath, leaning into the apparent limitations of a black surface. I’m inspired by life, nature, and structure – and I love to throw these ideas into an abstract form. These ‘still’ images achieve their animated effect through the fluid lines that I favor. Using a scalpel without any guidelines is fun because it means there are no mistakes! Every work is a one-take, free-form improvisation. From here, I like to bring my artworks onto the computer to reinterpret them digitally: applying color, zooming in to create more abstraction, or else repeating patterns for a kaleidoscopic effect. 

I’ve seen your work also appearing on labels of some records. Since when have you been doing freelance work like this?

It was always a dream of mine to design artworks for vinyl covers. My first cover was for Andy Ash on Fullbarr Records back in 2014. After that, I was contacted by Berlin-based label Dreamers Recordings and have done the last 5 artworks for their releases, and last year I was invited to do 4 releases for Opia Records. It’s been a perfect way to crossover my love of music with my passion for art.

“I  have jumped into experimenting with video-based modular synths, which has opened up many new avenues for creativity”

And video? Is it another one of your passions?

Yeah, visuals and animations have been some of the most exciting projects I have been working on in the last few years. I have jumped into experimenting with video-based modular synths, which has opened up many new avenues for creativity. In the last couple of years, the gigs have started to come in, which has been great. I’ve had some incredible gigs at Gottwood Festival, Houghton, Free Rotation, CDV, and Hoppetosse… Last year, I was invited to create a feature-length visual for Huerta‘s downtempo album Junipero on Andy Hart‘s Voyage Recordings. During lockdown, I teamed up with Josh to create our own audiovisual series called Boshcast, where we have invited the likes of Bruno Schmidt and Sugar Free to lay down an eclectic range of grooves — I provide the visuals, and we live-stream each episode online. I can’t wait for clubs and festivals to open back up to get the chance to perform again, hopefully, this summer.

Tell us more about “Just Jamming”? What was your creative process, and how did the music from Myles inspire it?

After listening to Myles’s mix, I wanted to create the idea of excitement, movement, and vibrance but keep a clean structure with shapes locking together. Each track is unique and beautifully blended from one to the other. I wanted to keep that idea of individual shapes coming together to create something unique, with each object complementing its neighbors. I’ve titled this one ‘Just Jamming.’

“It was great to link up with Conxi in the last couple of years. She has been an incredible inspiration”

I’ve seen some lovely works done together with Conxi. Are you planning on doing more collaborations with her or other artists alike?

It was great to link up with Conxi in the last couple of years. She has been an incredible inspiration in terms of evolving my style and thought process. We are pretty similar in creating abstract characters and forms, so when we put our heads together for the first time, it felt right. We are currently in the middle of our third piece together, and hopefully, this will continue for many years to come as she offers up a whole fresh bag of wild ideas. I am always open to collaborations as it gives scope to experiment and develop new styles of work.

Short, medium and long-term goals?

In the short term, I would say is to keep pursuing opportunities to create more audiovisual experiences. I’ve just bought a new video synth, so that will keep me entertained for the foreseeable future. I’d love to look at applying for my work on clothing and textiles in the near future. My long-term goal is to eventually open up a gallery space here in Berlin. It was the 5-year goal I set myself when arriving here, to have a space where I can host audio-visual experiences and have a physical space for my work.

Links:

soundcloud.com/myles-greenwood
www.ellwood-art.com
www.maxbinski.com

–
W: https://pluienoir.tumblr.com
M: info (at) pluienoir.com

Pluie/Noir Interscapes 08

Pluie/Noir
Interscapes 08

“Random Color Swings”

Sound mixed and compiled by Pocket Club
Visual interpretation by Marlene Magnoli

Welcome to the new Pluie/Noir podcast series. 9 years after our debut we decided to press the reboot button and return to our roots. With a new format and back to a regular monthly schedule, Pluie/Noir Interscapes will feature audio collages, mixes, live interviews, and live recordings from P/N artists, friends, and other collectives we admire.

 

For Interscapes 08 we welcome Pocket Club aka Alex Troubetzkoy – the now Paris-based DJ, producer and head honcho of the Pocket Club label – to lay down his pocket of influences over a one hour mix full of versatility and heaps of blues. Gorgeous illustration full of fauna and flora by the talented Marlene Magnoli aka Mlen Draws. We interview both for the occasion:

Alex

INTERVIEW — ALEX TROUBETZKOY aka POCKET CLUB

Hi Alex, such a pleasure to have you at P/N. How have you been?

Hello Bruno! Such a pleasure and honor to be part of the Pluie/Noir podcast series as well; I’ve been a big fan for quite a while now. I’m alright, the past few months have been very calm but pleasant! I love winter as it’s always the perfect excuse to stay in and create, trying not to overthink the other reason we are all locked inside.

The current pandemic has proven quite challenging for the music business as a whole. Considering you are both a DJ and a promoter and record label owner, how did it affect your work? 

I’ve spent the first lockdown in Bucarest, but, unfortunately, I couldn’t find a sane rhythm during this period, so I moved back to France at the end of it last summer. I always thought everything would be alright if something like a pandemic happened, as my days were already spent at home making music. But my studio wasn’t at home anymore, and it was complicated to go there every day. So, in the end, it wasn’t an easy period for me, mentally and creatively. 

When I arrived back in France, I stayed at my parent’s place in the countryside next to Paris. Little by little, I found my balance again — I mean, as much balance as one can possibly get considering the current situation. Being out of town has its ups and downs as well, but right now, it’s working pretty good, and the creativity came back too, so … 🙂

“I always thought everything would be alright if something like a pandemic happened, as my days were already spent at home making music.“

How have you been using your time?

Well, I made some music… then I made some more music, and now I guess I will go make some music again! I’m also playing guitar a lot, which makes me really happy as I’ve missed it so much. I’ve been drawing a little bit, walking in the forest, and I’ve tried learning the trumpet, although this one will take more time than I thought.

You have a particular workflow or focus when making music?  

I’m not sure; I guess it depends on the kind of music I’m making. For dance music, it’s a lot of trial and error – plugging in anything into everything in a search for inspiration in sounds, textures, machines… I create a soundscape or a beat following this ambiance and dress it accordingly. Then, I’ll try to arrange in the most musical way I possibly can.

When it’s not about club music, it’s different, as I don’t count as much on the « randomness » of things. It’s way more about composition; I usually have the main idea already in my head before starting, what kind of colors, chords, melodies I want. Sometimes I’ve had a track in my head for an hour, or even years, which makes it pretty special when it finally comes out! I then write the part for the instruments, record them one by one, and once I have a good structure, I get into the details, transitions between elements, etc.

“”Pocket Club” is literally the club of influences in my head, so there will be different recipes where some take the lead more than others, depending on the EP.“

Last year was also the year you’ve released your first record on your imprint “Pocket Club.” What are your plans for this project?

The idea behind Pocket Club is really to mix all my influences. “Pocket Club” is literally the club of influences in my head, so there will be different recipes where some take the lead more than others, depending on the EP. There are no limitations, really. Electronic, jazz, trip-hop, experimental, bossa nova, pop, funk… If I could put all of them in every track, I would, but it’s challenging to do so as I want to keep a certain balance, so yes, the ratios are changing.

The first EP was electronic; now I’m preparing the second one, which will be a lot more acoustic-driven. I will let it speak for itself as it should be out in a couple of weeks! I will make a few more EPs as Pocket Club to set the tone. Then, I will release music from some of my friends. And little by little, I wish all of this ends up in extensive live studio sessions between producers and live musicians.

“Some people wouldn’t listen to “this or that genre” for 3 hours straight, but maybe they will like 3 min of it between other genres that are perhaps more familiar to them. “

 

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Why, when, and how did you record this podcast? 

I recorded this podcast during the first lockdown, so in Bucarest, last May I think. I wanted to take the label’s identity, put it into a set, carry all the small parts I love about everything, and make a nice collage out of it. It was made like that; I put all the tracks in Ableton and built it like a movie to control everything – transitions between genres, etc. Some tracks play longer than others, depending on what it says and what I want it to say in the mix, kind of like a “best of” radio show. 

Also, I think personal mixes like these are a good way of presenting more “difficult” music or sounds to a larger audience. Some people wouldn’t listen to “this or that genre” for 3 hours straight, but maybe they will like 3 min of it between other genres that are perhaps more familiar to them. Right now, I’m working on another set like this, and there will definitely be more and more.

Considering your vast music knowledge and melomanous character, are you also exploring other music genres?

Oh yes! I think that’s the main point. We are not much without our influences, and the more you have, the more colors you add to your own palette. The music I’m making is only an interpretation of all those influences, peoples, instruments. So yes, yes, yes, that’s why it’s a unique and never-ending process. We are never exactly the same one year to another, same for our influences. All those ratios are quietly moving as the seasons go by — the good times, the bad, etc. — leaving an endless amount of music to be done.

Short, medium, and long term goals for 2021 and beyond? 

Although I don’t want to put a time schedule on this, I started to record my first album, so this would be a nice 2021 goal: finish the album! And a couple more EPs. Later I would like to start composing music for films, hopefully with more and more musicians, and continue making albums, always changing the ratios… Fowever (as a french would say).

Marlene

INTERVIEW — MLEN DRAWS aka MARLENE MAGNOLI

Hi Marlene, such a pleasure to have you at P/N at last. How are you holding up?

Hi Bruno! I’m good, thanks, and really glad to be here! 

Are you keeping active & creative? Was this period life-changing at any level to you?

Especially now, it is hard to stay active and creative (or at least partially). I go through phases; sometimes I’m full of creativity, but sometimes I just hang there. It is challenging to find new inspiration, and I try to bring a lot of variation these days (with moderate success, haha). Then, 20 ideas come at once, and I have to think about how I can work through them! 

I finally found the time to try new things out. And I’ve wanted to try some of them for quite some time, like screenprinting. It is for sure not on a professional level, but at least it is fun and artisanal.

“I go through phases; sometimes I’m full of creativity, but sometimes I just hang there.”

You moved to Berlin a few years ago. Do you still find Berlin and its music scene inspiring? What is inspiring you the most lately?

Absolutely. At the moment Berlin is, of course, very constrained. But it’s still the Berlin I got to know almost 10 years ago – not exactly, but almost. There is no other place where I can hear so much good music and meet so many exciting artists. Berlin is simply alive. It is a bit difficult now, but so many still make the best out of it and do what they can to keep the scene alive – like streaming their sets to virtually bring people to dance in their homes.

Lately, I’ve been listening to more music to feel inspired. In the past, it was traveling, sitting outside in nature. Going out. Living. Nowadays, it’s more the little things: cooking things I never cooked before, searching for music I never heard before…

“I regularly illustrate the covers for Hushlamb. It is an enjoyable recurring project because their ideas combine very well with my ideas and style and the music they release.”

You’re regularly illustrating for the Huhlamb imprint. Do you like doing client-specific works? Do you live from illustration alone?

I regularly illustrate the covers for Hushlamb. It is an enjoyable recurring project because their ideas combine very well with my ideas and style and the music they release! I’m delighted to illustrate for them for so many years, and I think it’s still a perfect fit. Working under client specifications is not so much what I do these days. Instead, I work freely, illustrate whatever comes to my mind. I work for others (illustration-wise) only when it really fits my style. 

 

I’m not a full-time illustrator. I’m a daytime software dev and a nighttime/every time artist. For me having both is really important. Both are creative work: one more technical, the other more free and visual (or even acoustic). The results of my free illustration projects (projected on textile and paper) are also available on Etsy.

"I'm doing some experiments here and there and have turned some of my illustrations into patterns."

One of my current projects is creating patterns for textile printing. I’m doing some experiments here and there and have turned some of my illustrations into patterns. I then print these into the fabric and sew them (not by myself – sadly, I can’t sew anything). Thus far, I’ve printed 3 patterns on 3 different garments (hoodie, bomber jacket, and light scarf). I especially like the print on a slightly shiny fabric like the “Quagga Bomber Jacket” – this is made with duchess satin. I also sell the jackets on request; these are then produced in a single edition. I’m still thinking about how the whole thing can be serialized without having to do individual editions — I hope to work together with manufacturers one day and solve this issue. For the moment, I will continue to design more patterns and print them in single editions, in whatever shape comes to mind (which, of course, manufacturers could too) 😄

What are your techniques? How do you go from primary draft to final piece?

Most of my illustrations are hand-drawn, scanned, and then digitally colored. However, I also started drawing digitally, which means I draw on the tablet and colorize them. Sometimes an idea just comes to my mind, and I immediately begin to draw. Usually, I like to do a little research before I draw – how things should look exactly, etc. – because I’m very detail-oriented when it comes to illustration. When the project is more complex, I make a little collage of whatever I find on the internet and use this as a base to start drawing.

“Most of my illustrations are hand-drawn, scanned, and then digitally colored.”

Tell us more about “Pangolin Color Swing”? What was your creative process, and how did Alex’s music inspire it?

I started listening to the mix, got a glass of wine, and began by picking up an illustration from my archive. The decision fell on a pangolin I had drawn about 3 years ago; A pangolin with many eyes, lots of botany and mushrooms, and a colorful environment. This was the starting scenario.

Alex’s set has something melancholic and surreal in it. The illustration seemed to fit perfectly. While listening to the mix, I started to work on it further: Changed colors, repeated patterns, took another sip of wine, shifted layers, and so on, until the final result you see was achieved.

I had seen your live act back in 2018. Are you still actively making music too?

I am a little bit, although not as much as I was back in 2018. I’m currently more focused on illustration, but I finished an EP this year which will be released on the 26th of April on Ukiyo music. I plan to do more in the future, somehow. I’m also planning a new live act!

 

 

Short, medium, and long-term goals?

Uff. Survive without getting mad! 

Links:

soundcloud.com/pocket_club
instagram.com/mlen_draws
etsy.com/de/shop/MlenDraws

–
W: https://pluienoir.tumblr.com
M: info (at) pluienoir.com

Chronicles of the 5 Senses #1

Chronicles of the 5 senses

Episode #1: Nies
— 
“Matching Scents”

Her origins cross two entire continents. Her artistic vision blends mediums and our collective plays with genres and aesthetics. You got it right if you think that you can’t put Denise Gluck in a box. When we decided to start our chronicles, she was the first person we wanted to interview. She accepted immediately and supported us in this initiative. Bright, calm, and accurate are the adjectives popping up when thinking back to this moment we shared with her.

Denise is today the matriarch behind Rings of Neptune. In this podcast you will discover her through her plural identities: from her childhood in the countryside to the city girl she became. 

We hope you will enjoy this encounter as much as we did!

“I like to
combine image with sound; it stimulates an extra sense between what you see and what you hear.”

 

Nies choose
five tracks that
connected 
her to each
of the five senses :

The touch:
Carolina Eyck & Eversines
“Echoes”

The hearing:
Rei Harakami Feat. Ikuko Harada
“Sequence_02”

The smell:
Super Numeri
“The Electric Horse Garden”

The sight:
Alessandro Cortini
“Amaro Amore”

The taste:
Upsammy
“Wild Chamber”

Links:
bandcamp
instagram
soundcloud
facebook

Concept & Realization: KHMGNFF & Virna Diane
Artwork: Max Binski
Credit Audio:
Overshift – An Unfamiliar Predicament
Group Of Gending Guna Saih Sondong – Shekeha Gamelan