Muno.pl Podcast 32 - SLG

podcasts
21 Sep 2011 10:11

Tags: slg pets recordings trapez lukasz seliga podcast munopodcast

 
Muno.pl Podcast 32 - SLG

To Polish techno fans, Lukasz Seliga aka SLG needs no introduction. Know for his explosive live performances, everything but ordinary DJ sets, as well as a number of widely acclaimed productions on labels like Trapez, Cynosure, Channels and Pets, he undoubtedly is one of Poland's finest techno / house artists.

With a little less than a few weeks to go before the release of 'Friends Will Carry You Home' (Pets Recordings first compilation), we asked the Lodz-based producer with very strong ties to the Pets family a few questions. And if that wasn't enough, he also agreed to record an exclusive podcast...

Muno.pl Podcast 32 mixed by SLG!




Muno Podcast 32 - SLG by muno.fm

INTERVIEW: SLG (LODZ/POLAND)

Muno.pl: Most of us went through a number of different music genres before ending up listening to what we do now, namely electronic music.  How about you? Were there any types of music you liked before you became exposed to the world of dance music?

SLG: I actually started listening to more synthetic sounds very early on. As early as at the age of eleven I was already listening to music that my peers were not even giving a chance. At the time, it was mostly synth based music. Stuff like Jarre, Kraftwerk, Erasure, OMD and Soft Cell. A few years later I started listening to punk, Nirvana, Sonic Youth. I also started playing the guitar. After this short affair with more guitar-based music, electronic came back into my life for good. This time, however, it was rave, early jungle, Aphex Twin, Autechre, LFO, Boards of Canada, Squarepusher, Orbital and FSOL. 

Did you know what type of music you wanted to make when you first started producing?

I took my first steps as a producer a very long time ago. Initially, I made music on very primitive equipment and software, and I never took it too seriously, it was more of a thing I did for fun. And I never stuck to one genre of music either – I would produce pretty much everything from experimental stuff, to the electronica that Warp released back in the 90s. It was only later that I discovered house and techno.

Do you have a production process that you stick to when writing music? Do you have any concrete goals that you want to achieve when making a track?

Despite the fact that I am a pretty experienced producer, I actually can't say that I have my own production process. Sometimes, I go into the studio with an idea in my head, at others with a certain melody, while sometimes I go in, sit down and have absolutely nothing and just start jamming on my synths, manipulating samples or programming a beat. And because of this, at times it takes me a day to finish a track, while sometimes it can take literally years for me to complete a project. Sometimes, I am a perfectionist, thanks to which getting something finished tends to be frustrating at the very least. On the other hand, the opposite can be true, meaning that I don't feel like being a perfectionist, don't over think things, let things be the way they are. And you know what? That's when I get the best results.

Are you in any way inspired by the other artists' music?

Of course I am. Being a music love, I listen to a wide range of styles and genres, all of which inspire in one way or another. However, if you expect me to name some artists who have had the biggest influence, then I won't be able to tell you, as there is far too many of them to choose particular artists. But I will say that I am inspired by many different things, many of which are very different from the music I myself make.

Looking at your achievements as a producer, it seems as if you really made it after you signed with Trapez. From a personal standpoint, what was the moment in your career when you knew you had just got your break?

For me personally it was when I released 'Quarter Past Eleven' on the small label, Level. It was my first release on vinyl, which I think is a big deal for every producer, and I to this day think that it is one of the best tracks I have ever produced. Sure, production-wise I could probably do it ten times better now, but back then I managed to squeeze a lot of emotions into that track. Me getting signed to Trapez, on the other hand, was for me my first bit of commercial success. The records sold well, I got some recognition, and started to make a living out of my productions and performances all over the world. Nevertheless, the label and I artistically went our separate ways at one point, because despite the fact that I released more percussive, dry stuff on Trapez, I never actually made minimal techno. And to be honest,  I have always strove to make my music as lively, full of melodies, well composed and warm as possible. There was a period of time when I decided not to make too much music and take a bit of a break, because I believe that you should not force yourself to do anything just because you think you should. However, I think I will start being more active very, very soon.

A while back, you started to DJ, and not just perform live. Which of the two do you prefer?

Due to the fact that my first performances in front of an audience were in fact live performances, I don't have a problem with DJing on stage with a computer. For me, the most natural route to take turned out to be Traktor, which I use with vinyl time codes, and sometimes, depending on the state of affairs at a given club, I also use CD times codes. The biggest advantage of using Traktor for me is the fact that I always have my entire collection of music, which I make additions to on a regular basis, with me wherever I go. Oh, and I don't have to worry about burning a new CD every time I play. Recently, though, I have also started taking more and more vinyl with me to my gigs, but I still primarily depend on my laptop whenever I play, because, to be honest, the medium you play on isn't important. What's important is how and what you play. But I will add that Ableton DJ sets and those in which auto-sync is used tend to be terribly boring. What's the fun in playing without the risk of messing something up while beat matching? Besides, matching beats isn't crucial. For me what matters most is good music that is programmed well, not perfect mixing skills.

What the record that never leaves your bag?

Pepe Bradock 'Deep Burnt'. I usually only save it for those very 'special' moments, but I have it with me at all times.  It's probably the most beautiful house track ever produced.

You will be going on a tour of Europe together with other artists from Pets Recordings. Do you think that Polish producers will be getting more and more popular?

Well, the fact that we are getting these gigs is mostly thanks to Greg and Voitek (from Catz n Dogz). The rest is due to the fact that there is actually strength in numbers, and playing label showcases brings about results, hence bookings at events like Unsound, which is by far the best Polish festival. Will Polish producers be seeing more and more fame? Well, those who have achieved something owe their success to their talent, hard work and determination. And I never see music as being either Polish or foreign, I only see it as being either good or bad. Nevertheless, I still think that there is not enough decent dance music in Poland, despite the fact that there is a higher amount of it to be heard these days. More and more artists are coming out of the woodwork, and more and more of them have something original to offer. So in this respect I think that Polish producers will be getting more and more recognition.

Care to divulge you plans for the near future?

Pets Recordings' first ever compilation, 'Friends Will Carry You Home', will be released soon. On it, you'll find a new track I did in collaboration with Catz n Dogz called 'Polska 84', a brand new track from me solo ('Sugar & Spice'), as well as Axel Boman's remix of one of my older tracks, 'I Love You But I've Chosen Disco'. Additionally, seeing as how the comp is a three part affair, I have also recorded a mix consisting of tracks from the Pets' catalog to round off the release. Additionally, I have been working on some remixes recently, so you can expect them to be released on U Know Me Records, and Klasse Recording very, very soon. Right now, I'm working on new material for some EPs, and I have another EP, which I recorded with Catz n Dogz, forthcoming in the next few months on Pets.

What can you tell us about the mix?

I wanted to put together an energetic club mix made up of the tracks I have been playing out, so as to best represent my style to the fullest. It is a mixture of different genres, so you can expect everything from deep house, to acid right down to techno. Oh, and there are unreleased Polish two tracks that have never put on a mix before – Eltron John's remix of Jackname Trouble, and my forthcoming remix for the Berlin-based label, Klasse Recordings.


Text: Magda Nowicka Chomsk

Muno Podcast 32 - SLG by muno.fm

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