Indigo Virus interview and mix
Indigo Virus spoke to us about his new Vision ep, and kindly gave us a mix too.
Hi, how’s life, enjoyed the ep.
EZ. It’s going great thank you, hope you guys are good.
Can you take us behind ‘Metropolis’ first of all?
I knew I wanted to do something with a standard amen instead of a processed one. It’s such a special break and I wanted to almost honor its original sound.
I was watching a manga called Cyber City Oedo 808 and I was really inspired by the massive city setting it was based in.
I’m quite a visual person and easily inspired by pictures and films.
When you listen to that track I was hoping the listener can get a picture of this futuristic Megacity, floating through these immense skyscrapers and lights.
All the delays and reverbs were meant to give a feeling of being overwhelmed and dizziness.
I hear that you love the older rave/jungle sounds, why is that?
There’s so much more energy and life in jungle,the way you can turn a single one bar break into its own journey.
Each track is always so much too take in with different edits effects and layering.
It’s something I’m looking to get into making but I’m taking my time with Jungle, I need to do that sound right.
The pumping rave sound just gets me excited: all the hyped up stabs and hoovers. A lot of it has to do with memories and nostalgia really.
Rave and jungle was the first sound I’d heard other than what the radio was pumping out… I was in a small town and only 11 so I couldn’t go elsewhere. It’s a sound that constantly takes me back to that excitement of hearing something new.
I still feel like a kid again when I hear ‘Rotterdam Nation’!
How do you approach specific sounds in your work?
Breaks are something I’m still experimenting with so I’m building a better collection now. Kind of feel I’m getting known for my pitch changing on breaks. I use a lot of that so there’s a collection of those on hand.
I’m a massive lover of hardware synths – not software – and I could talk for hours about playing with bits of gear.
I’ve owned a ridiculous amount of studio gear over the years mainly synths, so I’ve amassed a crazy collection of samples, from complex pads and phrases to thick analog basses.
I have a real soft spot for pads and atmospheres so if there’s something I don’t have I can easily make it on my hardware synths.
Who are your heroes in the roots of this music?
Liam Howlett right away for the rave style work he did on Experience and especially some of the B-sides.
And Photek for the incredible talent that man has in his drums and percussion! I really look upon those guys and try and study their work and put my own spin on their structure.
Over the more recent years I’ve been listening to a massive classic Jungle and oldskool collection.
I’m still discovering so much within oldskool/Jungle and it feels like I missed out growing up.
This music contains so much talent and is so much more interesting to listen to I feel.
Love the 4/4 vibe of ‘Cerulean’…
I had the breaks and bass down and I knew I wanted this EP to have a continuous flow/storyline.
I’m still a firm lover of 4/4 over breaks from the rave sounding stuff… it’s my way of keeping that rave vibe and then still having the freedom to do something different.
It wasn’t until I added those gated pads I started getting more of a picture of seeing Metropolis from the sky.
The gated pads and vocal gave the feeling of being extremely high up in the clouds, almost angelic.
That’s why I called the track ‘Cerulean’: it’s Latin for ‘blue’.
‘Detonate’ does what it says on the tin and can imagine was great to produce… so when is your most productive time to produce or is it any time?
‘Detonate ‘was one of the rare times when everything fell into place.
I went in thinking I want some hard hitting track with pitched down breaks that has a serious impact.
It just kept getting better, when that siren kicks in halfway through I just visualized Metropolis exploding.
That’s how I named it, I did that track in three hours straight and came out the studio on a natural high, I felt great!
My favorite time to make music is when it’s dark, I used to stay up at stupid times and feel great tinkering away on synths and drum machines.
Since then I’ve had to be more responsible with sleep and now I prefer making music early evenings after I’ve been for a walk. I can go for a walk, daydream about things then get in right in the studio and experiment.
What’s a small habit or process in the studio you’re fond of, that you’d share. Something large or small that delivers.
I don’t use any automation on synths so I prefer to record filter sweeps in live.
Gives the music a more organic feel.
Also Vapour taught me this little trick of using crash and reverse crash cymbals to help gel a track together… he uses his a lot quieter in his tracks.
I have them quite loud, for some reason I think it gives the beginning of each bar a little more excitement.
So, how did you and 36H hook up? You must have a similar mindset.
A friend of mine suggested we go check out the local drum and bass night in town, back then we’d got bored of the usual nights out.
Met Vapour while he was ordering a pint, me and him got to talking as the night went on and it progressed from there really.
We share the same motivation and goals and he’s really helped me get my music to more of a direction, before I met him my music was all over the place: Trance, Hardcore, Dub Techno. You can still hear those influences in my music now, but I have a lot more direction thanks to 36Hertz.
Shouts to my close friends and family. Massive respect to the 36Hertz family and Vapour. Lucas from Top Drawer Digital and to everyone who enjoys my music, your plays and likes mean everything to me.