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‘Click Interview’ with Cervello Elettronico: ‘My Biggest Fear Is Nuclear Fallout From War Or Negligence’

By Nov 29,2019

I discovered David Christian aka Cervello Elettronico by his official debut-album “Negate The Instigator” released in 2007 on Crunch Pod. The debut of the American producer based in Los Angeles (USA) revealed a visionary approach mixing industrial- together with techno music. Throughout the years the different albums of Cervello Elettronico released on Crunch Pod, Rustblade and HANDS only confirmed the growing talent of this artist. His newest opus “TOP DED CTR” again reveals an industrial-techno fusion, which will made you dance.

(Courtesy by Inferno Sound Diaries)

Q: What do you keep in mind from the writing, sources of inspiration and global production process from your new album “TOP DED CTR”?

David: My third full length album on HANDS (“TOP DED CTR”) continues Cervello Elettronico’s minimal-techno path, but progresses with more rhythmic-noise and dark-ambient sounds. I’m very much inspired by primal drums and restrained composition aimed to provoke a dance floor. There are themes, samples, and sound designs that tie “Anima Meccanica”, “Logical Fears”, and “TOP DED CTR” together. The core process has been the same for all of them. I imagine the tracks as a whole in my mind before anything is programed or recorded. They are realized through using software, field and media samples, and some hardware toys I have acquired through the years creating multiple versions until I’m happy with a cohesive concept. Percussion is usually first and the rest follows. I am part of a monthly industrial techno party in Los Angeles called “Distorted Disco” and DJ. This has heavily influenced the sound and purpose of the project in its current state.

Q: After your previous album “Logical Fears” you said it was your best album. So what about “TOP DED CTR” and are there some aspects you tried to improve and maybe others you tried to innovate?

David: Looking back at all three HANDS releases I think I am happy with them each in a different way. I’ve found a comfortable skin since “Anima Meccanica” and have the support of a wonderful label with amazing talent to inspire me. Cervello Elettronico began with progressive compositions, but now minimalism intrigues me. Sound design is vital and this kind of sound requires the producer to immerse themselves in feeling every beat. Technical aspects can always be improved, but I think I have tried to innovate sampling and experimentation in Cervello Elettronico’s sound.

Q: “Logical Fears” was your ‘political’ album so what is “TOP DED CTR” all about and what’s the significance of the cryptic title?

David: “Logical Fears” was politically influenced, but was merely a reflection and not a platform. “TOP DED CTR” is similar, but more indicative of humanity’s current state of peril. It feels like as a whole the world is on a superficial upswing of propelled activity and we are inevitably going to free fall back to bottom dead center. There are so many possible catastrophes that can happen, but I’ve highlighted a few through abstract interpretations. Personally my biggest fear is nuclear fallout from war or negligence.

Q: In which way do the title and eventually concept/main themes of an album influence the writing (considering aspects like sound creation & -treatments, kicks, samplings etc)?

David: Since day one Cervello Elettronico releases started first on paper and then in the studio. I find it easier to write that way instead of free form jam sessions.

Most of the field sampling I layer is relevant to the theme of the song and is mainly just entertaining to me as a composer, but there are times a sound really fits with everything and is completely unrelated. The same with kicks and other percussion. It’s no different from paint choices on a canvas.

Q: As a composer what are your references (considering other artists) and eventually criteria in the writing process to consider your songs/music as accomplished?

David: It’s difficult to completely explain, but there’s a feeling when you know something is complete during the writing stage. On the other hand the technical aspects can be a never ending battle even after the music is released. My references are all the tracks I spin as a DJ or listen to during my free time which I examine in an analytical way (you can’t help not to after being a composer). You never want to outright copy other work, but learn from it and apply techniques to your own sound.

Q: Cervello Elettronico is active for nearly 20 years (!) now so how do you see yourself evolving? Are there some ‘big dreams’ you still want to accomplish and what brings the future?

David: I have lots of plans for the future of this project. This period just happens to coincide with a techno renaissance which hasn’t really gone away, but collided with experimental music in a major way the last decade or so. No sound or style is completely ruled out for the future. My biggest dream is to inspire other artists which will have the most impact on Cervello Elettronico’s relevance. Working in today’s scene I’ve absorbed so much energy in recent years from brilliant local and international artists who in the past might have been dismissed or neglected because of their race, sexual identity, or sexual orientation. This is where industrial music is at today. Where better to hear subversive music than from individuals who’s people have had a history of cultural oppression. I hope someday I can redistribute that energy out to others. That is my dream and what I am trying to do with my music.



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