Old faces, GORO & EIWEN have formed a new project iBSTRACT. we bring you an overview of their debut album ABSTRACT PERCEPTION and an exclusive interview with GORO.
You have been on the scene for a few years now as GORO and also one half of BIOFORMS. We are used to hard/dancefloor dnb from you, will iBSTRACT be continuing in this style or will you be bringing something different?
As GORO i was addicted to drum and bass since around 2001. At that time i started promoting a dnb night called Blackrain at CLUB NO3 which i co-owned for a long time. I also promoted the Rainbow openair in partnership with Dephzac, and after the club closed we organised some nights in a pub called CCX. I am not currently a member of any crew. At the moment i am trying to get a few artists together for live concerts, as this is the way i would like to continue in the future, but we will see what happens. I don’t only do dnb, in the past i have made various different styles such as trip hop, chillout and house. I work on all music with my bro EIWEN who will be familiar to techno and minimal fans.
Could you tell us how long your new album has been in the making, and where did you get your inspiration from?
Some of the ideas were started around 3 years ago. I had been working with Dephzac until he moved away from Slovakia. He moved away and i stopped making dnb for a year to work with EIWEN on some slower music. When i decided to start working on dnb again I really loved it and made the decision to put together a full length album. We made a lot of material, and most of the album just came from jam sessions we had in the studio.
There are 13 songs on the LP, which one is your favourite?
We have so many fond memories attached to each track. Every one makes us feel a different way, and whether good or bad it doesn’t really matter. I think i can say that for EIWEN too.
On the majority of the LP tracks you co-worked with TOP producers from Slovakia. how did these collaborations come about?
It was quite difficult as Trilo lives in Poland, Dephzac in the UK and i couldn’t meet with Blue motion in the studio either. Everything worked via the internet besides ‘Enemy of the states’. For the guitar parts I met with BLT in the studio , many times and for long hours because we are very good friends. I also met with clarinet player PANTER who you may know from a great band call ‘HUGO CAVES”, however he lives in the UK now. There is also some Rhodes parts recorded by ANDRAS in his studio. In spite of the various difficulties it was a great experience and a lot of fun.
Which collaboration did you enjoy the most?
For sure the one with my partner EIWEN and Guitarist BLT. Our trio worked very well together.
There are lots of real instruments on the album , did you actually play them or did you use mainly samples?
EIWEN, ANSRAD MADARASZ and myself played the piano parts and there are also live clarinet and guitar as I already mentioned. As for samples, we like sampling a lot of old Jazz vinyls via our Kaos pad, which reaps many great creations.
Do you play any musical instruments?
Our production is based around piano music/composition so in a way i can play, but not as fluently as ‘real’ pianist. I’m no Fryderyk Chopin but i’m trying to improve as much as i can.
What was the most difficult part of making the album for you?
It’s very hard to say.There were hard parts to every track, especially when working with live instruments and editing down the recorded material. For example when adding a guitar part to a five minute song we will will usually be recording up to 20-30 minutes of material and picking the best segments to use in the track. Then we have to listen over and over again to be sure each part fits correctly and is sitting as comfortably in the track as possible. It is a very different process to purely synthetic composition.
Many producers collaborate with live instrumentalists and bands. Was this your first experience of doing that? and will we be hearing more of this style included in your future work?
It wasn’t my first experience, I have been interested in live instruments for a very long time and i’m sure i’m going to continue. Each instrument adds a different element to the song, every musician adds in a different vision, feeling or sensation to the track. We don’t want to be constantly doing the same thing, we want to be unique. The more people you have involved with the tracks, the more ideas you have, and the more unique vision you have moving forward.
There are currently a lot of producers switching from djing to live performance. They like it because they fell they can be more creative and expressive. I s this something you would like to try?
I’m sure the live stage is a perfect way to be more creative, but in my case the music industry is not my full-time job, so i can not do everything at once. At the moment i am focusing on djing and studio work. Maybe in the future i will change my mind.
Thank you for your time! Would you like to add anything else? or do you have any advice for all the up and coming young producers out there?
I really believe that this album is great work, and that it will be appreciated by the listeners. To the new wave of producers I say : Keep unique, don’t copy others, and of course keep your fingers crossed and stay positive!