Following a string of big releases, a landmark set on Trackitdown's radio show via Ibiza Sonica Radio and several stand out appearances at some of the world's biggest events we thought it was about time to catch up with Italian Techno supremo Paride Saraceni.
Where are you right now and what are you doing?
Hi, thank you for inviting me to this interview. I am now in bed at home in London, recovering from the cold I just caught during my trip to Belgium for my last gig. I am starting my week by checking emails, uploading podcast episodes and scheduling my to-do list for it.
You recently played on our Trackitdown show via Ibiza Sonica Radio how did it go?
It was good, I was very happy for it. As a studio mix I decided to include some of the best tracks I have found during the past few week. I was happy to receive this request from Trackitdown, I hope you and the listeners enjoyed it.
Listen to Paride Saraceni's Trackitdown show from Ibiza Sonica Radio below.
Do you approach a set like that differently from a club set?
Definitely! In a club it is, in a way, "easier" to set up your set because as soon as you step in the venue people will give you an idea of the vibe and you can take it from there. In the studio it is indeed different and you have to create your own vibe. It is not uncommon for me to play slower and deeper stuff when I make a mix at home, and some people might be even surprised I can play such music, especially if they know me more for my productions. I like all kinds of music, as long as there are spatial and "material" qualities to it. As long as it feels organic and the composition is clear and well presented, for this reason a club set is also inspired by the location where the event takes place, for which I try to come up with an inherent sound code.
I think there is nothing more bothering to me than the wrong music in the wrong place or time.
Your latest remix of Rise by DJ Pagano is out now, how did that project come about?
I was in touch with Christian Cafarelli, better known as Obi Baby (who is a very important Italian DJ and party promoter, having been among the pioneers of the Milanese underground scene, with events such as "Pervert" representing some good part of the golden age of italian clubbing) who had me playing at his party last NYE at Hollywood Club in Milan. He then told me he was running a record label and spoke me of a good friend of his, Francesco Pagano, whom I actually met in London a few years back at a party at Aquarium. He told me about the track and that they were looking for someone who was confident in remixing vocal tracks. I heard the track, which contained a re-sung vocal of "Rise" (probably best known for the Ian Carey version) and I thought I could bring some underground-ness to it, being currently perceived as a quite well known house track without any underground counterpart. Therefore I laid down the vocals which I turned dirty with some distortions, both as an aesthetic quality and as a gesture of conversion, and I have built a hard-kick and percussion framework the idea of which is to re-interpret a House groove in a new dynamic and tech-driven form whilst still carrying some old-school references to British and New York 90's house.
The tune is doing really well and has gained some big support from the likes of Adam Beyer. How does it feel to hear your tunes being played by an artist of his stature?
It happens to be indeed, thank you for your words about it. Nine years ago when I started producing, discovering Paco Osuna or Dubfire playing my tracks made me literally euphoric! When I find that out nowadays I am always very happy, but having now met and worked with many artists of this calibre, and having them quite regularly playing most of my works, the sense of surprise has perhaps slightly faded, (you know, like when you get cookies every day, at one point you kind of expect what there will be on the plate on the next day, if that is a way to put it hehe), yet I feel very happy to see them playing these tracks, especially when they play the tracks I least expect that they will like, that is always a great feeling, because, again, it's a new surprise!
For this particular track I thought Adam might like it, so I emailed it to him and a few weeks later I spotted it on Be-At.Tv and sent him and Ida thanks for their support on it!
There is one thing though that I am concerned about in regards to the support presence, and that is that I think people nowadays take your work seriously only when someone important plays it or when it is being played somewhere important, be it a famous club or a radio station. I am confident that what I release is only the best work I produce, but if you are not a top-established artist, like probably many of us new generation are, were or have been at some point, it takes much longer to "convince the world" of the quality they are made of and stand for. Support from top-notch artists nowadays is paramount for a new artist to emerge, and I am afraid most of the times the focus from the audience, so to speak, is so much shifted from the actual music to the names who play it. I just wish people would listen more with their ears than with their eyes.
Your touring schedule sees you travel all over Europe in October, is there anywhere you haven't managed to get to yet that are on the horizon?
I think I have only visited just about 10% of the world so far! I wish to soon visit South America and more of Asia, as the only place in Asia I have played was Japan, this year. I also wish to play in more "unknown" places where Techno or more experimental electronic dance music has not reached yet. I would especially like to visit South Africa, where my mother was born and Venezuela, where my uncle lives, although I imagine it is unfortunately not going to happen anytime soon due to the current situation the country is undergoing.
When you have some spare time how do you like to relax?
I am not too sure because if I am not studying, making music or playing somewhere I am probably thinking how to develop some further ideas, for instance, our event in the summer, or some live-act drafts. But maybe apart from that, and when I have some time, I just like to stay home and watch some nice movies with my girlfriend or have a bike ride somewhere nice.
Back in 2014 you started Post Scriptum Music, what is it all about and how is it going?
Post Scriptum Music at present is a platform by which I and my two partners from Italy brand our events: "The Casbah Project" and other minor events such as "The Lodge" which we develop across the year.
These events have actually been more of a kind of experiments which we develop and improve every year, and PSM is a way to embody them all under one name and concept.
The concept of the brand / label is based on the art of "Storytelling", therefore our events are designed to follow a specific narrative, "The Casbah Project" for instance is an event on the beach composed of a temporary timber, rope and fabric structure with its design and construction referencing both the site's landscape, its history and culture. Everything has to "tell a story" and therefore even the use of artificial lights is strictly limited (or actually prohibited) during the event, which atmosphere is composed by only organic elements, organic and more tribal music and the light is made of just candles.
The same concept of storytelling will also be represented through the releases the label will put out in the near future. The idea with Post Scriptum Music as a label is to release only very thought-through works which can provide the listener with an intense and interesting sensorial experience through the means of sound.
Essentially, I am not interested in releasing club-tools, or chart-hits, but only some very special music that can make my (and hopefully the listener's) mind travel and give me the feeling of visiting some very unique and special spaces with some captivating atmosphere. The acoustic aesthetics of each release might follow different sound-forms, touching both Techno, House or Deep house realms but uniquely and consistently, with organic and cinematic connotations.
The first release will be an 11-minute long narrative which sounds take you into a dense dark jungle environment. The discovery of a secret door is unveiled within the wilderness and with it the track guides you through a series of temple-like spaces which imagination can hopefully paint as per the track's sounds and events.
I am working on also developing videos for each release, but without stealing the main role to the music, these videos shall just function as a way to enhance the music's intention of creating a certain feeling.
I invite creative video-makers or animators to get in touch if interested in this project via our website at http://www.postscriptummusic.com/
With this project I will be releasing mainly my most dear works, and the works which I feel best describe the label's intention, as well as works from other artists, which I hope will be inspired by the label's concept in order to push their boundaries further than ever before, allowing them to create something they can really be proud and happy of.
In a way, starting from our first event, the idea behind everything that PSM stands for is to build, inspire and be inspired.
We have begun this initiative with our events in 2014 and we have just started a bi-weekly podcast series, which features the most captivating hour from my sets around the world and I will be inviting some guests whose music I deeply appreciate and that I find in-line with the concept of the label. You may find out more about Post Scriptum Music, announcements and events on our fanpage: https://www.facebook.com/postscriptummusic/
Running Post Scriptum Music you must discover some interesting up and coming talents, is there anyone specific you would like to tell our readers about?
Through our events with Post Scriptum Music I have discovered some real talents indeed, all of which for the moment, considering the extent the label had so far, not being published as a label yet, are from my region of origin in Italy, Abruzzo. They are possibly not known to the wider scene yet but they all have shown extraordinary skills both in performance and production and I believe that if they find the right means to put their work and names out to a wider audience, we will all hear of them soon.
Starting with Vito Fattore and Joseph DL, I have this year included in our events a relatively new artist named Rafjius. These guys have been playing for a long time around all over Italy and beyond, some having had residencies in clubs in London or at parties in Ibiza, and I have invited them to take part of the first episodes of the Post Scriptum Music Podcast, as a way to present The Casbah Project which took place soon after these shows in August this year for its third edition.
I regularly hear their productions and unreleased works, many of which could easily make them compete with some very well established producers.
It is in my will and in the scope of Post Scriptum Music to cultivate these talents, allow them to grow and release music which can hopefully soon be appreciated by a much wider audience along with the loyal local one who had been supporting them for many years.
Finally what is next for Paride Saraceni?
A lot of things are coming up, some of which, as said, will not happen anytime soon, but in the near future you can expect some production highlights such as a remix I just finished for Maya Jane Coles, which I believe should be out soon on her I/Am/Me label, a remix for Riva Starr on Green Velvet's Cajual, a few new EPs to be out next year but I do not want to spoil you for a few other surprises.
So there you have it, a lot of exciting things coming up and the future certainly seems bright for Paride Saraceni.