Maelstrom

How much of a challenge was it for you create ‘Dystopian Elements’, your demo track using the samples? Your tracks usually sound as though there’s quite a bit of real-time synthesis going on, so was an entirely sample-based approach a different way of working?

Working on this track was actually a pleasure and I ended up with the main idea real fast. I usually work with real-time synthesis, specifically for bass sounds and mid-range synths, but having to work with a sample-based approach only helped me getting away from my routines, and it feels like the track has opened new perspectives. Sometimes you end up unconsciously using the same tricks all the time, without even thinking about it. It’s good to be in a situation where you have to work in a totally different way.

I started working on ‘Protection’, a track I made with Louisahhh!!! for Bromance, right after finishing ‘Dystopian Elements’ and it wouldn’t have been the same track without this soundbank project. We used some of the ideas that appeared during the ‘Dystopian Elements’ production process and it really gave the track a different atmosphere.

Sometimes you end up unconsciously using the same tricks all the time. It's good to be in a situation where you have to work in a totally different way.

Does the idea of working with a limited sound palette appeal to you? It’s a bit closer to the classic approach of a small, limited setup, before the infinite options of DAWs and plugins.

It’s always a good thing to have limitations. The times I lost myself and got stuck in creative dead ends were often times when I had all my synths plugged in at the same time, or when I was working in a software-only environment. Two or three years ago I stopped installing every single new software effect or synth and decided to use only those I already had and liked best. Who needs six different reverb plugins or a folder full of delay units? Unless you’re mixing down albums from different bands in a professional studio, it doesn’t make sense, and it’s the best way to get lost. Instead, I start working with a new instrument or a new effect every now and then, and spend enough time with it to understand completely how it works, then I can start using it in a new setup. I also rarely use all of my synths and outboard gear at the same time. Most of my studio gear isn’t even plugged in.

Which appeals to you more: people using these samples to make music in a broadly similar vein to your own, or people making something totally different?

I hope people will use these sounds to make something completely unexpected. The best thing for me would be to hear them in a movie soundtrack, or in a hip-hop beat. Of course these sounds come from an electro and techno background, but I do believe there are endless possibilities of using them.

I hope people will use these sounds to make something completely unexpected.

You’ve kept up a steady release schedule again this year, with EP releases on ZONE and Bromance. What are your plans for 2015?

I just released a new EP on ZONE, so at the moment I’m in a phase where I’m experimenting, recording new material and playing it out in the clubs. There’s a video for ‘Adversarial Design’ that’s been shot last weekend by Ilyes Griyeb. I made a new version of the track for it that we’re going to release when the video comes out.

We also finished new tracks with Louisahhh!!! Our work together has evolved a lot lately – it’s moving in new directions and I’m really excited about it.

For more information and to download the Dystopian Elements sample pack, head here. Find Maelstrom on Facebook, Twitter and SoundCloud.