Interview with multi-talented producer mïus

Image credit: Bence Szemerey

Electronic music producer, architect, and set designer mïus has unveiled his new song ‘Slow Burn’, which features HALOSARA, a Bulgarian singer-songwriter who is just getting her start in the local music scene. In addition, he has announced that he will be releasing an LP, Abstrakt, later this year. That’s not all, he will also be going on tour to perform his audiovisual show naked waves. 

Stream / Download: ‘Slow Burn’ ft. HALOSARABandcamp

‘Slow Burn’ is a gradual record, a song that dances on the wick of HALOSARA‘s vocal, emitting warm bluesy tones, dripping waxy percussions set to the pattern of a unique time signature. With its release, we spoke with the producer behind its making:

Describe your sound for us. What do you want people to feel when they hear your music?

Warm vibes immersing in deep icy water.

Which 3 artists have influenced you the most growing up?

Neil Young, Portishead, Esbjörn Svensson.

How did you discover your particular sound?

I studied many instruments, from the oboe to the guitar, drums and piano. In the end, I was drawn to electronic music, which I perfected with the same instrumental thinking. Also, the conceptual way of thinking and the love of structures that I learned through architecture had a great impact on my music.

Tell us about one of the first struggles you faced (as a group or a solo artist) and how you overcame it?

When, as a young artist, you decide to get serious about your profession, you tend to fall into the trap of taking yourself too seriously, setting too high expectations, or comparing your own art to others. This can become a daily struggle for many of us. It also doesn’t help when the industry tries to measure art with rankings, top lists, awards, and tries to put it in genre boxes. I say specifically the word “art” because it’s not only present in music, but also, for example, in architecture. It’s a lot of mental work until you realize that your art has drifted in the direction of the “profession” and that you’re on the wrong path since art is a kind of existence in which everyone has to follow their own path, which you really don’t have much influence on.

What are the most important pieces of equipment to you?

At the moment a set of Vermona Perfourmer synth, Vermona DRM drum machine, Korg Minilogue, Empress Echosystem, Fairfield Circuitry Shallow Water, Strymon Big Sky and El Capistan, Red Panda Patricle. And, at home, a Furch acoustic guitar.

Music for the individual or the masses – which do you want to create?

Individuals definitely. Your audience should always find your music, not your music looking for its audience.

Do you have a favourite memory of your career so far?

I think back with a warm heart to our Live Cinema Festival concert in Rome or to our “naked waves” concert held not long ago in one of the industrial spaces of Budapest.

If you could work with, or perform alongside any artist living or passed, who would it be?

I really like playing with my band, they have become kind of a family now. But I could bear a jam with Nils Petter Molvær. 

What kind of message are you trying to send with your music?

There are no messages, more like soundscapes, atmospheres, emotional moments.

What can we expect from you in the near future? Any upcoming projects or gigs in the pipeline that you would like to tell us about?

We are continuously working on our audio-visual show with visual artist Andrea Sztojanovits, a light concert that we named “naked waves”. I will release a new album in the end of May that will be a part of this live AV show. We will visit a few light festivals with it in Hungary, Rome, and Prague.

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