Exclusive interview w/ Benoit & Sergio to Tudobeats ~House Mag ~
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ENGLISH VERSION
“We prefer to believe in a vast brother and sisterhood of open minded global dance-citizens who live by the hidden pulse of a night-kingdom without borders. Brazil belongs to this global community of sacred dance floors.”
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2016, December 28th. Nazen Carneiro
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1. I always ask artists what music they have in their car now (or listen to on their bike, mobile, etc) to get in touch with their current favourites. Please list five of them!
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– “Crush Songs” by Karen O. Amazing, short, lo-fi solo album by lead singer from the Yeah Yeah Yeahs.
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– “Depression Cherry” by Beach House
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– “Back In Your Head” by Tegan and Sara. Addictive pop jam from 2007.
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– “Take One” by Black Pony Orchestra.
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– “Superstition” by Stevie Wonder (Soul Train version on Youtube)
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2. I see different influences on your music, such as German, French and American. How do you see this interesting mix you have?
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There isn’t much German influence in our music. We admired Perlon back in the day because it was groovy and weird. But that was it. Groups like Kraftwerk, Can, Cluster—they are much more influential and meaningful to us but they aren’t electronic in a contemporary sense. American and French are much more influential to us, indeed. But it’s hard to talk about influences in your music and where they come from. It’s like trying to figure out where you got the flu from. Things are just in the air. American and French exuberance are definitely present in our stuff–that can’t be denied
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3. What is the biggest plus you see in playing in Brazil compared to other countries around the world?
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We prefer to believe in a vast brother and sisterhood of open minded global dance-citizens who live by the hidden pulse of a night-kingdom without borders. Brazil belongs to this global community of sacred dance floors.
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4. You will be playing at D Edge on Dec 29th and 31st, once again together with a such a happy beautiful amazing crowd. How sexy it can be?
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Hopefully it can be so sexy that even the walls will look like Victoria Secret models in heels and black lace on endless runways.
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Check out the PORTUGUESE version of this interview published in HOUSE MAG
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5. You have a recognizable lushness in your lyrics. What is the relation you see between sex and music, and how do you want people to see it?
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What a deep question. One could say that sex and music are two sides of the same coin with their crescendos and climaxes and breakdowns. But seduction is more interesting than sex and music is more interesting than sex as well. So maybe another way of thinking of this is in terms of the relation between seduction and music—the way they both involve anticipation and fantasies of abundance.
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6. When you’re listening to other producers, what takes your attention the most?
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The immediate rush of a hook, its timbre, its tenderness, its sound quality, the way it sits in relation to the other elements in the track.
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7. You must hear material from artists all over the world. How do you filter it in order to really get the good part of it? in order to do a collaboration for example.
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Songs speak to you most when you’re not listening for them. The Tegan and Sara song is an example of that. Never heard of this band before. But the song came on at a diner randomly while eating tater tots and drinking bloody marys after a show and the opening piano hook felt like it was fingering everyone’s soul at the dinner. Now it has been on repeat. Music every now and then taps into what you feel at a certain moment or, even better, it articulates what you didn’t even know you were feeling. If you look too hard or listen too hard for music, then it starts sounding lame.
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