![]() ![]() The first release came out on Fragile a subsidiary of Transmat. 430 West and Transmat both got back to me within three days, which was shocking after three years of trying to release my music in Europe. So as a last resort I thought fuck it, I’m just going to send the demos to Detroit where this music is meant to be. And I sent demos to F Communications and Soma. Later, I tried to get my music released on Swedish labels like Svek. My first release was on a label from my hometown called PTS. I remember hearing ‘Killer’ and I thought “wait a minute! I know those stabs”. I think Adamski might be the most famous person who used the Ensoniq SQ80. Through either faith or destiny, I ended up with it. But that was the beauty of learning how to program a synth which seems to be impossible to learn. But they would throw it away after a week and say “how do you make any sense of the menus?”. When I told people what synth I was using, they would go out and buy it. The SQ80 wasn’t really a hands-on synth like a Roland Juno. I seemed to be gravitating more toward the minimal sounds of artists like Robert Hood or Basic Channel. I was just trying to recreate what I thought I might have heard on records or at parties. I was trying to learn how to program it before knowing anything about electronic music really. The first synth I had was the Ensoniq SQ80. What synths and drum machines did you first lay your hands on back then? I came from the background of just having a sequencer and gear and trying to make something with those machines. I didn’t DJ, I didn’t collect records or sample them. And I would still say EBM was very much the early days of techno, without the melodic aspect. I’m not going to say I invented Detroit Techno. So in those early days, I was referencing the melancholy vibes and melodics of Depeche Mode and the energy of Nitzer Ebb and Kraftwerk. I definitely wouldn’t have heard of it because, in Jönköping, we just had a state-owned radio channel called P3 which would only sometimes play club music. So you were making Detroit Techno before you’d even heard of it? Eventually, they pointed out that the music I was creating was called Detroit Techno. But I did have a few friends that were regularly buying records. There was no internet back then, and hardly any magazines so I just learned to make music on my own. ![]() Growing up in a small city called Jönköping outside of Stockholm I didn’t really have other people to bounce ideas and learn from. He’s the man behind one of Detroit Techno’s most iconic anthems - ”Groove La Chord”. The Iranian-born producer does, after all, know a thing or two about making hits. So what if we instead tried to recreate a record that was already a hit? If we endeavor to do exactly what was done before, would the results be the same? Can we capture lightning in a bottle twice? We asked Aril Brikha if he wanted to give it a try. ![]() Whatever the truth is, it’s clear there is no definitive answer to this age-old question. ![]() The ancient Greeks believed that unconscious bursts of creative genius came from Muses - the goddesses of literature, science, and the arts. What is the formula for making a hit record? Is it a balance of talent, inspiration, and years of practice? Or is the process simply a matter of luck, or perhaps even the result of some higher powers at work? Romantic poets such as Coleridge and Shelley believed that in order to receive artistic visions, the soul had to be attuned to divine or mystical "winds". ![]()
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