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Electronic Emergencies celebrates its fifth anniversary with ‘After The Fall’, by Croatian dark electro queen and style icon Popsimonova. Cult classic ‘Drive’ was remastered especially for the clubs by Rude 66, who also made a DJ edit of ‘Dark Star Crashes’, the collaboration of La Popsimonova with Italian queer heroes Hard Ton. Bosnian producer Borgie remixed ‘Break and Enter’ and ‘Delete Yourself’ into energizing, pounding dance floor killers.
Ideally in transit between yesterday and today, between adolescence and maturity, between an arcadian dimension and a more actual reality made of mirrors and metal, here it is the sonic trip for these two singular characters, Zarkoff and Popsimonova, a taste of sci-fi retro comics, as the bridge of hyena plisskinn in Carpenter ’1997 escape from ny’ or the characters of the bridge of William Gibson, the master of cyberpunk american literature. The bridge, this eternal symbol of passage, the union of opposite realities, in this case reflected itself in the music, with deep roots that lie in the past (for the analog instrumentation) and then leap into the future, materialized from essential and modernist musical structures. Each human being builds its own bridge, a piece at a time, and so it happens the magic of communication, it takes place. In Die Brucke it happens in the ideal musical dialog between this two singular characters, with their composite way to write songs. In addition, for the first 100 copies of 12′, a 7 inch with two songs taken from 12′, Wal2Wall and the instrumental Azzurre, remixed and rearranged by L.A.S.’s Crime, another electronic duo borned in ’80s, as a subtle line between past and future. A special edition that will amaze you with its orange vinyl and shining package. Marbled orange double vinyl, 12”-7”,155 grams for the 12” version.
With Popsimonova I take care of the mixing, occasionally write lyrics and/or develop some musical ideas. If we both feel that my participation as an author is significant for the song, then we sign it together so there’s no confusion. FFFC is a duo with my old friend Yas (Le Chocolat Noir), he made me discover so much great music throughout the years, still does. Then Sumerian Fleet, that’s Mr Pauli, Alden Tyrell and me, a long distance collaboration. I go to Holland once or twice a year to work on new stuff and it’s easy to overdub/record and exchange files these days so I can also do some work at my own studio, of course. Kali Jugend is the freshest project, I’d say the core of this one are Popsimonova, Petar Car (from noise band Smrt i Čekić) and me, but we also had some very important creative input from Mr Pauli, and the bassist from Croatian band Baden Baden, Goran Djurich. I’m also collaborating with an immensely talented singer Iva VIs. It’s a lot, but not overwhelming yet. In addition to that I’m trying to make a living with mastering and mixing for other artists. I recently did mastering for new Legowelt album, Marquis Hawkes, Simoncino and some other Creme Organisation releases, so that’s the direction I’m trying to take. Touring is exhausting, studio work is easier, at least for me. Are you now able to survive off this studio work? Do you feel like you can now focus and spend enough time in the studio? Well I never made a cent from any of my releases, so I depend on mixing and mastering jobs and live shows. I can sustain myself, since I’m really not a big spender. There are dry periods without any income and it’s very hard to keep your concentration and composure when you don’t have enough money to pay your bills. But I can disconnect from reality when I have to work and just delay any anxious thoughts or emotional reactions for a while until the work is done. I’m not complaining, this is much better than a normal job, at least for me, that is. I spend quite a lot of time trying to get new jobs and gigs, and I’m really not very good at that, sometimes it’s very frustrating, I’d love to be able to replace those man hours with actual studio work. I’m determined to change this in the future by having someone else doing it for me.
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