— Hello Liza,
Please, tell about yourself and especially about your passion for electronic music. How long have you had an idea of making music?
And is your education related to it?
— Before producing I was djing for about 7 years, I dreamed for a long time to make my own music before actually bringing my self to do it. I felt I couldn’t make it, but mainly I was terrified to fail to deliver the sound I was imagining. Luckily, my husband always pushed me to follow my call in music, and thanks to that I started to believe in making my own music.
— Could you describe how your creative work process is going on – from idea to realisation.
— I usually start to collect field recordings, preferably in locations that are meaningful to me. I get a lot of ideas or inspiration from field recordings, already the process of taking a sound in this way is very engaging. In the studio I like to play with modular synthesisers to get melodies, arpeggiated sounds and interesting effects. I process everything in Ableton Live, but definitely most of the sounds are rather analog or from processed field recordings.
— Share, please, who or what inspired you for recording the release Versailles EP? What kind of hardware did you use?
— My father at that point was working in a bread factory, full of very interesting sounding machines, the factory next to them was working with metal and steel, that sounded almost like a symphony to me. I asked If I could record those sounds, and basically implemented all the samples produced by this in the production of Versailles, I used part of those sound to produce couple of tracks in my previous EP. No-on did a very interesting video for a track of mine “Luis XVI” showing those machines on action. Hardware wise, I used the Vermona drm1 MKII for the rhythmic side, the Moog Mother-32 patched with other modular gear from various brands such as Mutable Instruments and again Vermona. Some of the melodies were made with my husbands Vintage Korg synthesisers which are always very unpredictable and great fun to play. Ultimately, everything is processed on Ableton and most of the field recording material played with simpler on Ableton Push2.
— What are you working on now and what are your plans for the near future?
— I am always working on new material, generally I try to not focus on “having to release on a specific label” as it’s damaging on the creative side. My biggest plan/dream for the near future is to augment my Live set performance with more gear, at the moment I am using Ableton Push2 and a Midi controller for effects, but I’d love to add more gear for the melodic side.
— Do you perform in clubs and at festivals? In which countries would you like to perform and why?
— Playing at festivals is always special, but I usually play in clubs especially around Berlin. Playing often in Berlin is certainly a privilege if you are playing and producing techno, on the other hand I’d love to play in places such as Moscow (Russia), or Ukraine’s underground raves where possibly the scene is still underground and has a lot to explore like the 90s in Berlin.
— Do you have an experience of cooperation with any musicians or artists?
— Recently I started a collaboration with Rory St. John after he made a remix for the Versailles EP. The sound was matching so well, that the thought of a collaboration was basically the next natural step.
— Do you have any favorite labels and musicians? What kind of music do you prefer to listen to?
— Personally I don’t listen every day to Techno or to specific artists that might influence my way of making music. Style wise – I really enjoy baroque music from the 16th century, especially Jean-Baptiste Lully, I admire the complexity of the composition and I believe it’s very inspiring despite the distance to my style of production. Jean-Baptiste Lully is one of the biggest exponent of the Baroque music movement at the court of Versailles, and in part this is why I called the EP like that. As for favourite labels, for sure Mord, which always push innovative and not necessarily well known artists, within the harder darker aesthetic. I always appreciate Perc too as a producer, for his ever forward thinking and diverse style. I’d advise to check out Berlin’s Voxnox Records for some fresh interesting new releases and artists.
— Is it important for you, from which media to listen to? Is it necessarily with physical music media, or can it be with digital? Do you collect vinyl or cassettes?
— I have a good number of vinyls, but I don’t think it is necessary to play with them in order to achieve a so called “authentic” sound. In the modern world digital is a big part of our everyday, and many releases are out only digitally. Of course as an artist I appreciate to have my music release on vinyl, but on the consumer side it’s really not that necessary, ultimately the music has to be good not the media.
— How would you describe your music?
— That’s the hardest question to be honest, I don’t necessarily know which genera of Techno I am doing. I just know I always strive to put some sentiment in what I do. Techno is a pretty dry and straight forward kind of music, it’s hard to combine emotional value in the sound sometimes,
but I couldn’t do it otherwise.
— Does music help you in everyday life?
— Sure, when I was producing Versailles I had a condition that didn’t permit me to move easily, walk or stand up straight for long. I was forced to stay at home for the majority of my time, so music really made me feel as if I had a purpose, now that I am fine, this became such a relevant element to my lifestyle that I couldn’t think of how it could be without.
— Do you think creating music is not just a hobby or a job, but it can be even a certain way of life?
— For the previous mention motivations I see music as a healing process and a way to put a unique discipline and purpose in your life. For example, I invest most of my weekends and spare time in the studio, otherwise I wouldn’t be able to go on with my productions or to make new live sets, many people fail to see the true lifestyle of musicians, thinking that we are always in a club, but being in a club playing your tracks wouldn’t be possible if you weren’t committed to the very recluse lifestyle we just talked about.
— Please, tell about the mix for YooDj’s, what did you want to express through music?
— I wanted to make a diverse selection of tracks that I personally consider very interesting, it’s very much like what I will play in a club. I believe a successful dj set has to present an ever evolving sound scape, with interesting surprises and maybe some unexpected sounds.
Facebook: Liza Aikin