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The Radar 90: Mixed by Superpoze

Superpoze might not be a superstar just yet, but this French talent is certainly one to keep a look out for. Having began his tenure in the music world as a classically trained artist and multi-instrumentalist, he’s spent the past half decade carefully cultivating his electronic career with a series of releases and live appearances that leave those happening upon him highly impressed and wanting to hear more.

In particular, a standout feature of Superpoze’s performances is that he showcases the full breadth of his talent by using actual instruments and a hybrid setting of sorts rather than simply DJing. The result feels almost like a Kiasmos, Jon Hopkins or Stephan Bodzin show – immersive as ever, profoundly melodic, and, in general, he fosters nouveau-classical atmosphere that can please music enthusiasts across multiple generations.

Fans can now revel in a special Radar mix the burgeoning producer has provided – a true journey through sentimental and sweeping soundscapes that are stitched tidily together for a truly awe-inspiring hour. Additionally, he also took some time out of his schedule to discuss his musical upbringing and creative process. Peruse below while listening along to the melodies he puts forth.

Tracklist:

1. Superpoze – Azur
2. John Talabot – Voices
3. Adesse Versions – Pressured
4. Superpoze – Gleam
5. The xx – A Violent Noise (Four Tet Remix)
6. Parple – Sacred
7. Cosmin TRG – Vertigo (Tale of Us & Fango Remix)
8. Dark Sky – Em Cy
9. Daniel Schmidt – And the Darkest Hour is Just Before Dawn

 

Do you think your classical training/instrumentation has made you a more well rounded musician?
Classical training allows me to understand what I feel when I’m making music. It makes it easier. When I feel ‘this’ should happen I know which note or which chord [it takes to make] ‘this.’ If you want to use a word you’ve heard, it is always good to know how to write it.
Do you generate your own samples and sounds? What’s your process there?
I mostly record my own sounds, percussion, synthesizers, etc. and sometimes I use those as samples. I record a sound, do something I like with it, and then I treat this recording as an external sample. I pitch it, make slices, and make something new with it.

I do this to create a conversation between me and myself. I’m playing chess alone.

Why do you choose to perform so many elements of your music live?
I need to create accidents during a live set. When strange things happens live—this is the most exciting moment of a concert. If everything is written, you can enjoy it, but I don’t want to miss this moment when the audience and the artist are both surprised by the sound.
When did you start making music and how? In general, but also specifically electronic music.
I was a music student from 6 to 14 years old. I studied classical percussion, played in a lot of teenage bands in my hometown and I started to record music on my computer when I was 18. I first started with sample-based tracks and when I got my first synthesizer, I started to record my first album Opening, which came out when I was 22.
What is your process for making such nuanced and layered tracks? Where does it start and where does it end?
I definitely takes a lot of time to make music—and I follow time’s arrow. I don’t start a song with a hook and then look for an introduction, an end, etc.. I always start at the first second and then develop it until I feel the sound should stop.
Who are some people whose work you really appreciate or are inspired by?
I love the music of Moondog, Talk Talk, Jon Hopkins, and Nosaj Thing among a lot of other artists.

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