Source: meoko

3 Is The Magic Number: Premiesku

Published on Thursday, 03 November 2016 11:13

Premiesku Artwork

Premiesku are three Romanian born artists; individually known as Livio, Roby & George G. Collectively, on stage they harmonize in an analog symphony of man and machine, but their work began long before what we see today. The guys kindly took some time to give us some insight into their technical landscape, their approach to both making music and performing live.

As Premiesku you’re known both in and out of the studio for your affiliation with hardware. What brought about the symbiotic love affair for this production format?

It’s an old story, we became passionate about gear in the 90’s and each one of us has a different story but in the end we grew up with the machines. To be completely honest, in that period of time computers were in their early beginnings, not providing much processing power. It was so cool to have a computer as well and we remember with Pleasure software like Buzz or Impulse Tracker. Jamming and studio work for us is a totally different approach and seems to be a natural affiliation, because both in the studio and live we jam together like a band with our instruments and for that purpose the tactility of the hardware gives a huge advantage compared to software running on laptops.

Has it been difficult to maintain with a generational shift towards computer based production?

Definitely not, computers are not worthless, as long as the sounds you get out of them feel good and organic. At the same time computers and Ableton are also part of our creation and mixing process so we’ve been on that road for years as well. We totally believe in diversity and a studio should contain all sorts of possibilities, even though we dismissed computers for a live jam as we think it’s hindering the creative process.

You guys have been doing this for some time now, and I guess its a continuous learning exercise. Did it take you a long time to find the right balance between what you each have to offer?

As you said, we are still learning and this whole journey has been a learning process, keeping us excited along the way. Expanding our knowledge makes the process both interesting and totally addictive. We know each other for more than ten years so it was natural for us to find the right balance between our varied skills and musical feelings, but this certainly took time. Plus we like to change roles sometimes to make it more interesting and by doing this you can never get bored.


The hardware that accompanies you on stage was engineered from your own idea of what the Premiesku Machine should look like; how fundamental was this to what you guys wanted sound like on stage?

We developed this idea in order to have a portable studio similar with what we have home. Of course, immediately we thought about the logistic issues that might encounter us on the way so we had to make a reduction. Certainly, with the right balance between simple and complex. We think that we chose the right tools that allowed us to bring our studio sound to our live shows and at the same time to help us make the set up portable enough to transport on planes with ease. All the time we spent travelling helped us discover all those small details that makes a difference.

Do you retain the same ‘session’ freedoms in the studio as on stage, or do you take quite a methodical approach?

We take both approaches, but it’s really important sometimes to leave the audience traces of some recognizable tracks. It’s totally relevant for people to recognize music, otherwise we would be operating in a more experimental direction. So, to conclude – we want to keep our emblematic tracks in the original form as possible for the people that come to hear them but also we have sections in our show where we improvise transforming the music and bringing it in a more fresh and different dimension.

From the outside, the colourful arrangement of wires, panels, buttons and dials appears extremely technical, would you encourage people to try their hand at analog production?

Yes definitely, actually this is how electronic music started, this picture you described is the essence of analog world, but in the same time there is a considerable problem here – its expensive comparing to the digital world so in order to afford it you need to invest money and not everybody has this possibility. But with small steps there is potential and we would encourage any producer that hasn’t tried yet, to experience the analog world. Addiction will follow, that’s for sure and this is because it will change the way the music sounds and of course the creation process. It is certainly our first choice in sculpting the shape of a electronic music record.


Is there any new (possibly old) hardware you would like to add to your hybrid console?

Of course we are tempted. And we are always hunting for old or sometimes new gear. The approach is to occasionally change little details in the setup in order to keep ourselves excited. At the same time it took us a lot of time to find the right balance and becoming more experienced on the stage made us aware that more fundamental changes always need rigorous testing. For example sometimes we are thinking to expand our phrase samplers to have the possibility of using a bigger pallet of sounds and other times we want to bring more analog textures that requires more interaction and most of time sounds different and non repetitive. Balance is the key.

I think its fair to say (in my opinion) that a sense of atmosphere is consistent throughout your music. The title track from the ‘Altitude EP’ is a classic example; what’s your secret to this sound?

The secret is about a reshaped sound that was reshaped before from another reshaped sound :)



Interview by Anwaar