ARTIST OF THE MOMENT: Psyk
While some of us call upon the brighter days and may wish for a return to the “ good old days of techno”, where it seemed more futuristic than cheesy, a timeless form of music with a statement. Well, to me those brighter days are here, right in front of us and in the form of the Spanish Label Non Series. A label with a consistently high-quality output, no-nonsense attitude and an extremely distinctive sound. Non Series stands for a specific sound aesthetic and featured releases by Nobu, Neel, Architectural and Luigi Tozzi. The label owner and curator, Psyk from Madrid, embodies such qualities also in his productions and as a DJ. While remaining at the deep ends of the genre, Psyk’s releases (listen to “Rising” and you get the gist) can cause more than a few metaphorical mental breakdowns when played, so distinct they are, and if you ask me, should be in the portfolio of every credible techno DJs. Another example of this is Psyk’s collaboration with fellow Orbe, just out on Luke Slater’s Mote Evolver Label. It was about time to sit down with Manuel and have a little chat.
Hello Manuel, it's fantastic to have you join us as our guest! Congratulations on your recent collaborative release with Orbe, 'Atonal.' I must say, it's quite something! It felt like being pulled into a particle accelerator. Could you tell us more about the EP and the creative process behind it?
Hello, It´s my pleasure. Thanks. Orbe and I recorded a lot of loops and ideas a few years back working for our first EP together on my label Non Series. We got a lot of music, so we decided to make a second EP for Luke. It took quite a lot of time to finish it, but we were really happy with the result. We enjoy working together, and we are working on our next EP, which will be released at the end of the year.
Orbe, also known as Fernando Sanz, is a frequent collaborator of yours, not only in production but also in performing back-to-back sets. What distinct qualities do each of you bring to the table that result in such great outcomes when working together?"
Yes, we have known each other for a while now. Our first contact working together was when Ater Cosmo asked me to remix his EP for their record label. Since then, we have started talking more and coming up with the idea of our project together. In terms of performing together, it’s well balanced, as we have similar tastes. I can sometimes be a bit deeper while playing, and he is a bit groovier, but both together fit very smoothly, and we always have lots of fun.
Forgive the unconventional question, but as someone deeply involved in electronic music as a producer, DJ, and label owner, could you share how you perceive your relationship with the genre and what initially drew you to it?
I started listening to techno when I started partying in Madrid around 2005/2006. In those years, Richie Hawtin was a major influence on the scene with the minimal era. Over the years, techno has undergone considerable changes and evolution. However, from my perspective, since I’ve been producing, the period from 2010 to 2017 marked some of the genre's finest years in terms of the quality of music produced and its influence on shaping the club scene.
Reflecting on your debut productions released back in 2009, which values or creative processes have remained true to you over the years, and what changes have you experienced along the way?
When I listen to my old productions, I can see a lot of evolution, but most of it is in terms of sound. I’ve always been very attracted to minimalistic techno, and after all these years, I can tell that that is part of me and won’t change in the future. But of course, I can change the aesthetic and the sounds. With the experience, you start to know yourself better and what you want to achieve and how. You are always learning in terms of music production and sound design. So, it’s a natural process to experiment with an evolution in terms of sound, and I can definitely feel that from my early productions to the actual ones.
You released on some of the most influential techno labels, such as Tresor, Blueprint, Mote Evolver, and Semantica - just to name a few. Many producers aspire to that, yet find themselves torn between the pursuit of artistry and the need to sustain a living. Reflecting on this journey, what advice would you offer to them - or maybe even your younger self, navigating this balance between creative expression and financial stability?"
That’s a tough question, especially nowadays, as the scene has completely changed. When I was young, the music released and where it was released had a major impact on the scene, so that would help you get more bookings. Also for me, I always think that releasing labels you respect helps build the shape of your musical profile through the years. It is important at a personal and professional level. But nowadays, I think that, probably after the Instagram boom, the scene has changed, and what is more important is to have a connection with a massive audience through social media (Instagram particularly).
Promoters value a lot this aspect of the business nowadays, and the labels have an importance, of course, but only a bit compared to what was maybe 10/15 years ago. Gotta say, though, that when I started, it was very hard still to get the big DJs to share the booth with newcomers, and Instagram helped this the other way around. So now a lot of young artists have the opportunity to play more. I just think music should be a bit more balanced in comparison with social media. Then, the scene would be in a good and healthy state.
You curate and own Non Series, a label that, to me, embodies a well-defined, resolute sound and seems to have strong musical ethics. What is most important for you and the artists you work with in your curation?
The idea of the label has always focused on quality music. Always following a minimalistic aesthetic and design. Through all these years, Non has been a reference label for people who care about deep and hypnotic techno. Super proud of what the label has achieved and what it is now. Even in COVID times and the Hard-trance era, Non has survived releasing this sort of “not hype” techno making, a statement of what I think is the true, futuristic, and authentic, atemporal sound of techno.
How do you, as an artist and a label owner, manage to strike a balance between spontaneity and creativity and the demands of professionalism and commerce? Moreover, how do you personally ensure that this equilibrium is maintained?
Nowadays, it’s been pretty hectic. With my daughter and a Master's Program that I am finishing this year, it’s been complicated to finish productions and to be isolated enough to work properly in my creative process. My wife works at home, too, and I have my studio at home, so I never feel isolated enough. I am still finding the right balance nowadays, like the one I had in Berlin with the bad weather and having enough time alone to work properly in music.
Curating the label is easier, of course, because I just need to listen carefully to the tracks I get and start working with the different artists to finish the EPs. It’s something I love to do nowadays. It's one of my favorite projects so far.
It’s also hard to disconnect from the other aspects of the job (logistics, social media, etc.) because we are always connected somehow to the business and the scene. Even if it is part of what we love the most, it’s sometimes overwhelming and stressful. You never get the feeling of disconnection. I guess that’s something that happens to most self-employed.
Are there any unexplored avenues you're eager to explore, whether it be experimenting with new sounds or other collaborations?
For now, I am going just to focus on one solo release per year and probably one with Orbe. Maybe in the future, for my label, there is something planned; time will tell. But for now, that is the idea. Next year, my idea is to try to work in some film scoring as I am finishing a Master’s Degree related to that. But that’s something parallel to my projects with Psyk and Non Series, of course.
Thank you for your time. We appreciate it. Now, as a last question: which record or track (no matter what style) has never lost its grip on you?
Thanks for the nice questions and your time. I have a lot, actually, of course! This one is by far one of the tracks I’ve played the most since it was released:
Planetary Assault Systems - Temporary Suspension