1 –  How is your workflow when you are creating a live performance and how do you play? 

Well about my workflow. First I always create kicks and strong bass lines to have the dynamics of the session in my mind and not to risk so much on the dance floor.

Then I continue with the Drums Racks which some are in Audio and others in MIDI to have a little bit of live improvisation, but without running too much of the central idea of the moment.

Then comes the moment of my Music & Leads channel, Here is where I spend more time designing the sound but the process of assembly here is similar to that of the Drumkit. 

The difference is that here I have already written the Leads in MIDI patterns. and I can play with ADSR, VCO, Filter types and Fx.

Obviously this is in constant change as I get in touch with other techniques and different ways of approaching the performances, but the truth is that I always like to have time to have fun and feel the music that I create in our studio. 

I believe that the success of the public watching you connecting on another level with your own creations is also a way of performance and transmuting our energy into this art.

So I try to keep this percentage safe to connect with what is most important, people and their energy.

U S H N U live from Buenos Aires, Argentina

U S H N U live from Buenos Aires, Argentina

Publiée par U S H N U sur Samedi 15 août 2020

2 – How do you feel about the impact of your latest Diamond Tears release on INFINITE DEPTH? Several of these tracks are in the Hype TOP100 in BeatPort in different genres. 

The truth is that having the support of the greatest creative minds of our genre as artists like Fideles Colyn Øostil and more is something completely amazing. You have to understand that when you are an emerging artist. These things mean a lot. it’s not just playing a track. it’s the hours of study. all the passion and commitment but above all your vision and a part of your soul and emotions.

Of course Infinite Depth is a label with a super professional way of working, and an artistic vision that captivated me from the first day it was released. Without a doubt it’s a pleasure to be part of it. I’m sure I’ll keep sending material to this label because I love their concept.

3 – So tell us what else can we expect from you this year? Do you have any releases scheduled?

Well, at the end of the year I will release DYSPHORIA (Full Album) A.V. 

This is a proposal created under the influence of this strange world situation and combined with futuristic cinematic music. This will finish defining me as a producer because it escapes to anything that I have done before. I only had to go out for a walk and see the empty streets. to feel that SCI-FI vibe and start imagining movie scene ideas. The sound work has a beginning- middle-end in itself. but I decided to take it to another level by inserting it in the field of multimedia arts. where new technologies applied in a creative way come into play. and my tireless curiosity for the world of light and visual art. will certainly add some personality to my work portfolio. 

4 – This Full Album will be edited in your Label, right? Can you tell us in depth about your perspective as Artistic Director and Owner of the Ethereal community ? How did the idea come about and what are you trying to capture with the label?

In EC I try to put my artistic capacity to the limit by creating some kind of visual to finish curing the release of the selected artist with my own vision. The Ethereal community has two faces. One is the melodic techno when it comes to Four-on-the-floor, always accompanied by classic sounds of 303 acid minimal and soft  or the characteristic vibration of SCI-FI moments. 

The other is the ambient music but it is not the conventional ambient…

I am referring to the soul of those musical pieces of sci-fi music that are made at the moment of the movie, that really tell a story of drama, suspense, love or hate not a simple track. 

I really need to feel somethingn to seal the Artist is not a question of favoritism is a question of learning to manipulate composite emotions. for me this is about  learning how to touch intimate fibers in the audience. 

and this applies to all genres! in my opinion 

but personally I find it very interesting when someone manages to insert this kind of music in a techno set as an opening or clossing track

5 – If you had to be alone on an island with only three songs which would be ?

oh ! well this is is really difficult but ..

Hiatus – Becoming 
Ludovico Einaudi – Run 
Tool – Parabol/Parabola