Misanthrop talks us through three tracks off his latest album.
Earlier this November Misanthrop released his latest album, Analog on his and Phace’s Neosignal. Clocking up to 11 tracks, the German producer has produced a killer album from start to finish.
Technically beautiful, Misanthrop has gone less down the ‘smash up the club’ sound and more down the ‘hair raisingly incredible’ one. As a producer he’s well known for pushing boundaries and this time he’s really pushed those limits. Abstract constructs, mind bending synths and attention to detail has made Analog the producer’s best productions yet.
Following its release earlier this month, we’ve got Misanthrop to explain three of the tracks off the album. Throwing a helping hand to producers he’s explained the in’s and out’s of each tunes production process and how he brought them all together.
"There are tracks which need a lot of maintenance and tracks which literally finish themselves. Feel is the latter. I tried to analyse why some tracks need more attention and some don't, and I think it has something to do with your physical condition and most importantly the foundation of your track."
"The foundation of your track is a solid bass which works well with your drums and melodies. This sounds obvious, and it is, but once you’re in the studio, those basic principles get easily lost in experimentation. A well-tuned foundation doesn't give you that much of a headache when it comes to the mixing process, and for ‘Feel’ this was the case."
"I had a look at the project folder and I wrote ‘Feel’ with 6 project saves in one day. That’s very unusual for me. I usually end up with project names like ‘Version_45_basslouder_drumsFit_SideChainCorrect_FINAL56’. This track might not be the biggest statement on this album, but I wanted it to flow with a positive vibe."
"Throughout the album, I wanted to achieve a coherent and different sound which doesn’t match the drum and bass cliché. Don’t get me wrong, I have huge respect to the pioneers and the foundations of the genre, but my aim is not to repeat something people already know or feel comfy with. I want to try something new and experiment. I want to take this to the next level. What does this have to do with 'Space Station'?"
"Well listen to the ‘drop’ (1.07), I drop with a very unusual key (B). It’s known for not really working great on the dancefloor, because it’s too low and therefore doesn’t have much impact. I don’t care too much about rules. I liked the chord progression of the melody, so I made the decision that creativity and vibe is more important than decisions that are known to make things work."
"I like surprises when listening to music. I want to create unexpected moments. The rise/drop (0.00 -1.07) of Atlas is such a moment, because it sets the listener on the wrong track on purpose. You would expect a 172 BPM track but instead it’s a half time track. I love those moments, especially when I play this out."
"One thing worth a mention is the clap in this track. In general, I like a snare/clap sound that doesn’t sound like a snare or clap at all. Snares are overrated in drum and bass in general. People listen to the overall music - producers focus on snares… Snares are the eyebrows of production in my opinion. Producers spend far too much time on them."
"Well... There's an exception here... It took me so long to get it right. I recorded gazillions of claps (massive red hands included) before I figured out how to make it fit in the track. In the beginning I thought I needed a very close sounding (lots of low end) clap but I found out the opposite did the trick."
Misanthrop’s Analog LP is out now on Neosignal - Buy/Stream
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