22-05-2013 | 14.48
Since Young Marco's first production on ESP Institute, he’s been doing more gigs abroad then in his homeland The Netherlands. This weekend he’s paying a visit to our British neighbours first, but afterwards he’s heading straight from Schiphol to Trouw. Since Marco isn’t playing the clubs as much as I would like, I saw it as a good opportunity to ask him some questions.
Most of your productions are recorded over just a single channel to the computer, why is that?
“My mixing board contains 24 channels, and the equipment I’m working with at that moment is connected to it. Indeed, this only runs to my computer through one channel. I mostly do it to protect myself, so I can’t adjust too much afterwards, and so I won’t go and do other stuff while producing. Usually I close my laptop and start jamming. When it sounds proper, I re-open my laptop and start recording. Afterwards I’m only able to cut and add some other sounds but nothing more. It’s a way to maintain the original idea and make choices faster.
Back when I produced using the computer, sometimes halfway a track I suddenly got a completely different point of view and my entire first intentions just vanished. The way I do it now is very pure and direct. A lot of my tracks almost completely exist out of random picks and some kind of accidents, things you’ll never be able to reproduce. That’s what makes it exciting for me. My final strive might be to do it right all at once, that would be pretty relaxed.”
How do you come up with the names for your tracks?
“At times I think of a title first and then I make a track based on that, but it works the other way around occasionally as well. I can’t really call it a processed thought. Sometimes it’s just the way it sounds. Often it does have a real meaning though, like with my Darwin in Bahia track. Bahia was the first place on the Southern Hemisphere where Darwin arrived with his boat the Beagle. It was the first time somebody in the western civilization had ever seen exotic plants and animals. It would be tremendously mind-blowing and I made that song with that idea in the back of my head. It’s like some kind of journey through the jungle. Imagine seeing all those animals for the first time, amazing!”
You enjoy club music that isn’t made to be played in a club, what do you mean by that?
“I think it’s interesting when people make a song that isn’t intended to fit a certain genre, but can be seen that way. This is not only relevant for club music, but for everything. In the 70’s and the 80’s a lot of new equipment came out and people started to play with it with a bunch of weird stuff as the end result. Take this track from a French library record for example. You’ll see a lot of surprised faces during the intro, but when the beat comes in everybody goes wild, though it’s not made as a club-hit.
At last, is there a record you always keep in your bag?
Yes there is, this has to be one my favorite italo records ever. It’s hard for me to leave that one at home, a real tearjerker!
Text: Ruben Leter