„Sezon na płyty roku uważam za otwarty” – odrzekł krótko Pagaj, gdy w swej naiwności próbowałem go informować o „Worldplay for Working Bees”. Lucy – włoskiego pochodzenia berliński producent Luca Mortellaro – debiutuje łebskim longplayem, przy czym nie tylko dobrze się go słucha – techno+ambient+dub+IDM+asymetria, całkiem blisko ostatniego Sheda – ale i czyta:
I studied philosophy, literature and linguistics at university, and now I decided to use that as a treasure, in music and art in general. Before making music I was writing for a living; the way I was approaching writing was really structured but in music I feel more honest and sincere.
I use a speech of Stockhausen that was recorded from one of his lectures at a university. It is linked to the fieldwork I was doing on the album – they were a treasure and key production for my album. I spent three months recording stuff around my flat, parks, clubs, in the toilet…
What I really don’t like in a lot of dance music is this complete clean, digital sound that is not real, without any kind of mistakes or imperfections. When you hear things in everyday life or go to a concert you hear it as being disturbed by a lot of other elements around you – reality is not clean or digital, so why this obsession to be perfect and having a complete control of the process? I was using techniques used in dub and roots dub music from Jamaica in the 1970s-80s.
What I’m seeing in techno at the moment is that it has a huge hype around it. But the good thing is that producers and labels that I’m interested in are not sitting down riding this hype but they are totally experimenting.
Z rozmowy z nimi. Tymczasem tutaj Lucy wylicza dziesięć najważniejszych jego zdaniem momentów elektroniki współczesnej.