How are you, what’s good and bad in your world right now?

Moha: We are fine! The good part right now is surely the release of Cosmic Dawn and everything coming behind it, such as great feedbacks and new gigs. The bad part, well, I could say that is the politics from our country, which is being destroyed by the far right 🙁

What was the first record you heard and really took notice of?

Moha: It was Daft Punk’s Discovery, back in 1999, thanks to the Interstella 5555 clips.
Tharik: My first record was the same as him, but I think it is worthy to mention Anthony Rother’s “My Name Is Beuys Von Telekraft”, the one responsible to make us start to DJ and create music.

How long till you started wanting to make your own music and DJ?

Tharik: I think the deep interest in electronic music started around 2007, when we discovered the underground dance music. In 2008 we listened to the record mentioned above, right after seeing Anthony Rother performing live, and decided that we would learn to DJ and to produce. One year later we created Kultra.
Moha: While Tharik was getting deep in music research I was making my first parties and feeling that I should have learnt how to play, because that would have been the only way I would feel completely satisfied. One day we talked and decided that we should work together in a single project.

Tell us about the LP you put out on AID-D Records – what inspired it?

Tharik: I believe the greatest influences on the album aesthetics were both the movie 2001 a Space Odissey and the 2004 series Battlestar Gallactica. The way they tackle the fundamental question of what makes us human contrasting with our own anthropomorphised creations is something that can only be properly expressed via electronic music. So what the album is really trying to do is to take the listener out of it’s fleshy existence and bring in the abstract thoughts around what defines what we really are.

What gear did you use? Does that matter to you?

Tharik: The album was mostly made using a Novation Impulse 49 and an Arturia Sparkle on Logic Pro, but I really think great music can be made with whatever a good musician has in hand.

What is the scene in Brazil like right now?  What parties and DJs are making moves?

Moha: It is in a good state. Our bad economy surely makes think that it’s harder for us to have good parties, but European festivals like Dekmantel, Time Warp and DGTL came here and brought the artists that people were crying out for and festivals like TribalTech and Warung Day Festival kept the local brands alive in the game. This moment also made the underground scene stronger, since parties like Carlos Capslock, ODD, detroitbr are cheaper and more intimate. On the artists side we have our “master” Gui Boratto always releasing new stuff on DOC Records, from him and from fresh new artists like L_cio and Shadow Movement. Talking about big room techno we have Victor Ruiz making his debut at Drumcode and ANNA playing at the biggest festivals this seasons.

Is it healthy for young DJs and producers coming through, do they have access to the resources they need? Are they being given the chances?

Tharik: Yes, when we started it was common to see party owners fighting each other, artists being assholes to each other and everything was a little chaotic and negative. Nowadays people noticed that without union there would be no scene at all, so people are more willing to help new people to get a space in the scene. Or maybe that’s just wishful thinking.
Moha: This doesn’t mean that it’s easy to become a known artist, but  there are more people making good music and also the experience made the curators more rigorous. I can say that the brazilian scene “leveled up” in the past few years.

What makes the Brazil scene unique, what sounds are popular? Is there a certain Brazilian flavour to the beats?

Moha: Well, it is very common to hear from foreigner artists that our dancefloors are hotter than any other in the world. We also feel that most of the people here really dive into the music, not caring much about what the dis are playing if they are playing this or that, but focusing more on the experience being provided by the DJ. I am not saying that things are perfect here, we also have that commercial kind of parties that almost everyone goes to just for the hype, not knowing or caring about the music being played, but I think these ones exist everywhere.
Tharik: It is difficult to talk about a Brazilian favourite kind of beat because it is a large country. Where we come from I think people like something more serious and straight, ranging from techno to house, with some melody but not too much. If you go to Rio de Janeiro you will hear funk carioca and a lot of breakbeats, if you go to northeast states you’ll see that their main scene is psy-trance. Not to mention our music from the past, like samba, maracatu and bossa, which are heavily focused on rhythm influenced by african cultures. This makes them a great source  for new drum patterns that can fit nicely into dance floor music like techno. Yeah, we have a lot of diversity.

What else have you got coming up/are you working on?

Tharik: Now we are choosing artists that can make some remixes for the tracks on our album “Cosmic Dawn” and we also have a few tracks ready to be released later this year.

What is your ideal party – the DJs, the venue, the time you play?

Moha: First of all,I would say that the most important thing would be the crowd, nice people respecting each other and the music. The venue would be in the countryside, with a lot of nature around and a great sound system for the the dancefloor. A small and beautiful stage where true artists would play only what they want to play. Our set-time at this party? The last one, because we love to end parties with unexpected songs that make everyone go crazy 🙂

 

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