INNERVIEWS INVITES
NESS
(THE GODS PLANET, ITALY)
1. Tell us a few words about Andrea, the person behind the artist we know. What are you doing now, and what other hobbies do you have?
It’s not easy to define the person behind the artist; perhaps one day, I’ll write an autobiography. I’d rather discuss my interests beyond music, which include philosophy, psychology, history, and mythology. These topics inspire my compositions and reflections on life itself. I used to play a lot of video games, but my interest has waned over time. I am also studying Japanese daily with an online application.
2. How do you find inspiration in everyday life to create music, and how do you manage to balance the spiritual factor you need in relation to your daily routine?
The previous question already touched on my sources of inspiration. Additionally, I’ve realized that inspiration often comes from working in the studio and persevering towards my goals (if there are any).
3. At this time, if it were up to you, what would you change in the music industry, and what would you keep?
I’m not entirely sure about this question. However, I’d like to see more artists prioritizing their hearts over personal glory or income. Also more artists performing Live act than Dj sets :-)
4. How do you start a productive day of experimentation, and where does it usually end?
When I sit down in the studio, I often don’t have a specific goal. Instead, I aim to express something, making the process unpredictable. Most of the time, I fail, but those few successful moments usually turn into a track.
It’s not easy to define the person behind the artist; perhaps one day, I’ll write an autobiography. I’d rather discuss my interests beyond music, which include philosophy, psychology, history, and mythology. These topics inspire my compositions and reflections on life itself. I used to play a lot of video games, but my interest has waned over time. I am also studying Japanese daily with an online application.
2. How do you find inspiration in everyday life to create music, and how do you manage to balance the spiritual factor you need in relation to your daily routine?
The previous question already touched on my sources of inspiration. Additionally, I’ve realized that inspiration often comes from working in the studio and persevering towards my goals (if there are any).
3. At this time, if it were up to you, what would you change in the music industry, and what would you keep?
I’m not entirely sure about this question. However, I’d like to see more artists prioritizing their hearts over personal glory or income. Also more artists performing Live act than Dj sets :-)
4. How do you start a productive day of experimentation, and where does it usually end?
When I sit down in the studio, I often don’t have a specific goal. Instead, I aim to express something, making the process unpredictable. Most of the time, I fail, but those few successful moments usually turn into a track.
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5. Tell us your three favorite software and three favorite hardware tools that you always use in your productions and why.
Software: Ableton as a DAW, Omnisphere for its versatility, and perhaps the Fab filter EQ.
Hardware: Analog Rytm, Octatrack, and Eventide Timefactor.
All these tools have been with me since sometime now (last entry was fab filter eq)
I’m still fascinated about them and keep exploring their potential.
6. We have seen that at some parties you play live without using a computer (DAW). What do you see as the pros and cons of a DAWless live PA? From the equipment you already have, what do you consider to be the most useful purchase you have ever made and why?
I’ve played DAWless for a few live gigs, which was an amazing experience, but I stopped due to the risk of transporting equipment, which made me paranoid about potential breakages. My most useful purchase is the Analog Rytm from Elektron; I love the drum machine and use it for most of my rhythmic parts.
7. Can you tell us a funny and a bad incident that happened during one of your shows?
A funny incident was when a girl accidentally stopped the CDJ running the track I was playing. She jumped near the DJ booth out of excitement, and the music stopped. Fortunately, everyone understood what was happening. A bad incident was when I didn’t get paid, which happened maybe three or four times in my career. Fortunately, those promoters are no longer in the scene.
8. Lately, we see a lot of artists leaving agencies for various reasons. After all, what's the point of an agency managing an artist's gigs instead of the artist? As Ness, what do you think about this, and how do you manage your bookings?
There are pros and cons to this. I’m not in a position to provide an objective analysis. Currently, managing my own gigs works fine for me, but for the last 12 years, I worked with agencies. It depends on the artists and their goals. Managing my own bookings now doesn’t require much effort for me, but it can be time-consuming. It’s a personal choice, and I understand both types of artists.
9. From time to time, we hear about the high fees some artists ask to perform at parties, which often leads to financial losses for organisers. Do you think reasonable prices from established or upcoming artists would help keep the scene alive?
Balance is essential, from both artists and promoters. It’s difficult for artists to evaluate themselves, and promoters need to have a long-term investment mindset, knowing when and where they can have a loss or win. As someone who also organizes events, I understand the importance of negotiation. A reasonable price must be evaluated on a case-by-case basis. The scene relies heavily on the attendees, sometimes sponsorship can helps out, but also constant communication among artists, agencies, and promoters is crucial.
10. Let's suppose you had the power to change something in the deep hypnotic techno scene. What would it be and why?
While finding and listening to artists online is convenient, attending events provides real support, this keeps the scene alive and healthy for performers and potentially lead to more events. Followers, likes and comments in the social network are relatively meaningless compared to your presence in the dancefloor where you can experience the real deal with music.
11. What's the most fun part of making music, and what's the laziest?
Discovering new ways of writing and making sounds or jamming with a fellow artist is fun. However, I’m not as enthusiastic about arranging or mixing a track.
12. What are your upcoming releases and plans for the future?
Currently, I have some remixes to be released , and hopefully, a new EP on the making. In the studio as I said already I follow my intuitions, as I’ve learned that long-term plans may need adjustments along the way. Also many interesting gigs happening until end of 2024, I’ll be returning to some favorite place and visiting new ones.
Thank you Andrea
More about NESS:
SoundCloud Instagram Bandcamp
Facebook The Gods Planet
Software: Ableton as a DAW, Omnisphere for its versatility, and perhaps the Fab filter EQ.
Hardware: Analog Rytm, Octatrack, and Eventide Timefactor.
All these tools have been with me since sometime now (last entry was fab filter eq)
I’m still fascinated about them and keep exploring their potential.
6. We have seen that at some parties you play live without using a computer (DAW). What do you see as the pros and cons of a DAWless live PA? From the equipment you already have, what do you consider to be the most useful purchase you have ever made and why?
I’ve played DAWless for a few live gigs, which was an amazing experience, but I stopped due to the risk of transporting equipment, which made me paranoid about potential breakages. My most useful purchase is the Analog Rytm from Elektron; I love the drum machine and use it for most of my rhythmic parts.
7. Can you tell us a funny and a bad incident that happened during one of your shows?
A funny incident was when a girl accidentally stopped the CDJ running the track I was playing. She jumped near the DJ booth out of excitement, and the music stopped. Fortunately, everyone understood what was happening. A bad incident was when I didn’t get paid, which happened maybe three or four times in my career. Fortunately, those promoters are no longer in the scene.
8. Lately, we see a lot of artists leaving agencies for various reasons. After all, what's the point of an agency managing an artist's gigs instead of the artist? As Ness, what do you think about this, and how do you manage your bookings?
There are pros and cons to this. I’m not in a position to provide an objective analysis. Currently, managing my own gigs works fine for me, but for the last 12 years, I worked with agencies. It depends on the artists and their goals. Managing my own bookings now doesn’t require much effort for me, but it can be time-consuming. It’s a personal choice, and I understand both types of artists.
9. From time to time, we hear about the high fees some artists ask to perform at parties, which often leads to financial losses for organisers. Do you think reasonable prices from established or upcoming artists would help keep the scene alive?
Balance is essential, from both artists and promoters. It’s difficult for artists to evaluate themselves, and promoters need to have a long-term investment mindset, knowing when and where they can have a loss or win. As someone who also organizes events, I understand the importance of negotiation. A reasonable price must be evaluated on a case-by-case basis. The scene relies heavily on the attendees, sometimes sponsorship can helps out, but also constant communication among artists, agencies, and promoters is crucial.
10. Let's suppose you had the power to change something in the deep hypnotic techno scene. What would it be and why?
While finding and listening to artists online is convenient, attending events provides real support, this keeps the scene alive and healthy for performers and potentially lead to more events. Followers, likes and comments in the social network are relatively meaningless compared to your presence in the dancefloor where you can experience the real deal with music.
11. What's the most fun part of making music, and what's the laziest?
Discovering new ways of writing and making sounds or jamming with a fellow artist is fun. However, I’m not as enthusiastic about arranging or mixing a track.
12. What are your upcoming releases and plans for the future?
Currently, I have some remixes to be released , and hopefully, a new EP on the making. In the studio as I said already I follow my intuitions, as I’ve learned that long-term plans may need adjustments along the way. Also many interesting gigs happening until end of 2024, I’ll be returning to some favorite place and visiting new ones.
Thank you Andrea
More about NESS:
SoundCloud Instagram Bandcamp
Facebook The Gods Planet