Luke Lawrence, White Noise Music's founder, caught up with Paul Suares (a.k.a. Bass to Pain Converter) to find out what's behind the mask.
First of all, we have to ask.. what was the inspiration behind the name “Bass to Pain Converter”?
Envisage Subsonic Music Festival 2013 on a more than perfect Sunday, Paul Abad was playing undoubtedly one of the best sets of the weekend down at River Stage, which some friends and I happened to stumble across. After carefully giving his set our inebriated analysis we discovered he was converting the bass into dance floor pain of the most beautiful kind.
That probably makes zero sense to anyone. To be honest it’s not to be taken seriously, the techno world can seem a bit too serious at times.
What's it meant for you to be signed to Bassic Records?
Bassic Records has been an incredible platform for B2PC in terms of exposure, growth and experimentation and expression as an artist. I’ve only had enormous amounts of support from them and this tour has been pushed along greatly as a result of that. They’re boldly bringing forward some amazing, underground talent, it’s great to be a part of that family.
Tell us about your latest EP?
‘Switch,’ which the tour is named after, will be released through Bassic Records in February with supporting remixes from MiniKore (Digiment Records - Brazil), Ben Rama (Zenon Records, Techgnosis Records – Canada), Luis M (Techgnosis Records - Portugal), Dylan Carrol (Recovery Collective – Australia) and possible others.
It’ll be my first track I’ve written for B2PC since becoming a solo act and a lot has happened over the past 5 months with moving to Berlin, including all the baggage associated with that. Since then the doors have opened to the vastness of electronic music, mainly techno. Not being able to write music while over there meant that all I could do was hold on to my ideas. I really wanted to create a combination of everything that I’d been hearing with a few innovative ideas thrown in there too to break the norm. I had the idea to structure it more traditionally, ABAB, not in terms of build ups and drops but for each consecutive drop, e.g. verse, chorus, verse, chorus.
The title came from a subchapter in Margaret Atwood’s ‘The Heart Goes Last.’ As well as tying in with how the song is structured it relates to a pretty large change in my life on numerous fronts.
I’ll also be releasing another EP, ‘Salem,’ through Egothermia Records in January, which is a bit of a milestone considering it was one of the first techno labels I ever followed and I’m a massive fan of Ruiz Sierra (label owner). It’ll also be the last collaboration between Anthony (ex-partner of B2PC) and I, which we finished before heading over to Berlin, so it’s very sentimental in that respect. You can hear a preview of the title track in my latest mix that I recorded for Earthcore, Earthcast #143, which is on my soundcloud. It’s the opening track.
Who, or what are your main musical influences?
Over the years I’ve drawn influence from a massively wide variety of music, whether it is death metal, classical, funk, folk or whatever. It all seeps in to what you write. I really don’t get caught up on specific artists, especially within my own genre (that’s not to say I don’t have my favourites). It’s a perfect way to pigeon hole your sound and recreate something that’s already out there.
Dark techno obviously has a correlation to metal, which is why I love it so much and sonically it’s actually heavier. Anything atonal, evil, dissonant and hard, while maintaining groove, has such a serious appeal to me. It makes you feel like you’re in the front line!
So you’re originally from Sydney and recently relocated to Berlin… what brought you on the move?
As an artist with an EU passport how could I not. It’s been a dream of mine since I finished high school but I’ve always been tied down in bands so I wasn’t able to abandon ship as soon as I would’ve liked. Anthony and I made the decision nearly 2 years or so beforehand and it was certainly the right one to make. For me to have the option to relocate there and not make the move would be a little silly. The proximity of neighbouring cities alone is such a drawcard and so much cheaper to travel to. To be honest I hadn’t even visited there before I moved, I was just going off reports and it didn’t fail to please.
For a DJ / producer, how does the electronic music scene differ in Germany compared with Australia?
Well, for starters there’s no lock out laws. The city, as everyone knows, is built for partying and is very free with experimentation in the arts. The techno is much harder and darker over there and even more so in southern Germany. Some clubs are open 24/7 for 4 days every week and for me that’s the same novelty as doofing. I love being able to wake up in the morning and walk onto a packed dance floor, especially if it’s techno.
I’ve mentioned this before though, a good party is a good party no matter which city it’s in. I was lucky enough to play at Bassline NYE, a warehouse party in Sydney. That was easily one of the best parties I’ve ever been to.
Tell us about Victor Y?
Victor Y is my other solo project, where I dabble in the lighter, more melodic side of electronic music, whether it be chillwave, tech house or whatever I happen to write. At the moment it’s definitely steering down the tech house road with a couple of releases coming out soon on Open Records. For me, it’s important to have multiple projects on the go, it’s healthy for the brain to expand in that way and to be pushing your composition skills in different directions. Plus it helps you develop different production techniques.
Late September I was lucky enough to support Luigi Madonna, as Victor Y, in a giant WWII bunker in Hamburg. That was a bit of a trip.
If you had any advice for upcoming DJ’s or producers, what would it be?
Don’t lose faith and surround yourself with like-minded and supportive people!
The best advice I can give is that being an artist is 60% business, 40% music. Unless you’re 1 in a million and strike it like Bieber you’ll remain a bedroom producer unless you push your stuff hard and are smart about doing so.
What can the White Noise crowd expect from your set in December?
I just dropped a stack on new music from what I’ve been absorbing over the past 4 months in Berlin, so there’ll definitely be some influence thrown in there. As usual, I’ll be bringing a lot of techno that not many people are playing in Australia. So if you’re looking for something unique and underground Sorry Grandma! will be the place to be December 16th. One thing is for sure, there’ll be a tonne of energy, the usual meataxe bass lines driving it along with all the weird and wonderful melodic pieces thrown in the mix for those ultimate chockaz moments.
I’m incredibly stoked to be playing amongst such an epic line up. I can’t wait to hear what Muska, Audio Bits, 2_Fold, Stevie Strafford and the rest bring to the table. It’s going to be proper!
For more information on the upcoming event on Dec 16 click <here>.