FANSTRØM was born in the year 2014 as an electronic music project that began by performing as a selector in various musical venues and later gave way to the composition and production of original music.
Going through various genres, he is presently focused in the most melodic and introspective branches of techno, constantly seeking the most subtle and profound harmonies and textures. Throughout these sounds, it is his desire to express with his style the incessant restlessness of his inner world.
In late 2017 he joins the team at T4F Records since its inception and participated in the label’s first release. Also, he has signed and collaborated with labels such as Concepto Hipnótico Recordings, Condor Tunes (Argentina) and Suspekt Records (Berlin).
The year 2018 begins rather exciting for the Argentinien born musician with a lot of collaborations and releases. We just fell in love with his deep melodic tunes and caught up with him for an interview:
Hi there! To those not familiar with you, how would you describe your sound?
I like to say that it is profound, textured and atmospheric.
Get an idea and check out FANSTRØM’s newest release ‘Entre Bosques’ from Cementero EP
Which three albums have influenced you the most creatively?
If I think about recent years I most definitely have to point out “Lost In A Dream”, by The War on Drugs. One of the most introspective, hypnotic and sentimental albums I heard in my life. But if I go further back, the greatest influence ever and, as I told a friend, the one album I would take to the Moon would be “Neu! 75“, by Neu! A masterpiece by absolute masters. And I should also mention “Empire Burlesque”, by Bob Dylan. But there are so many that 3 really falls short.
If I have to think about electronic music and techno, I don’t think I can pick 3 albums. If I may, I would point out 3 artists that come to mind: Polar Inertia, Ness and Blazej Malinowski, for instance.
Take us through your songwriting process. Are there any particular steps you take when putting music together?
What is totally non-negotiable is the message. I always try to say something, tell a unique story. I really don’t like the idea of just “putting out songs”. However, of course, it not always comes out as I’d like. I think that each of my compositions shares two aspects: the time and the atmospheres. By time I mean the composition time. I try to give each song its unique timeframe, understanding where it is taking me, not rushing it and letting it mellow appropriately. Sometimes this means a song can be completed in a couple of hours and sometimes it can take months. I accept this as an intrinsic facet of my process. And by atmospheres, I’m referring to the final phase of the composition, where I try to reinforce and really emphasize the atmosphere and texture I’m looking for. After the song is structured, this stage kicks in. Aside from these features, I could say that each song starts with a variety of loops, percussive and harmonic. I play around for God knows how much, changing instruments, melodies, samples and whatnot. After I finally feel there’s something solid to work on, I move into the arrangement part. This can usually take quite some time (I’d say the arrangement arrives at 70% of the total composition time). In the arrangement, I continue to play a bit starting from a base structure until I feel I got it right.
See how that all sounds together and listen to Fanstrom’s very own composition ‘Fango’
Studio work and music creation or performing and interacting with a live audience, which do you prefer?
What a challenging question! Studio work and music creation gives you an unique opportunity to really get to know yourself, connect with the deepest parts of your soul and with the most entangled thoughts. You go through every single emotion you can think of, suffering quite a bit in the midsts. This, I think, conveys the purity of composition. Performing, for me, is pure ecstasy. It is a magnificent journey from start to finish, and connecting with people on site is just priceless. Thus you could say that it is usually the least conflicted part. I don’t think I can prefer one over the other. For me composition alone is not enough, as I feel that I need to share what I’m doing not just online, but on site, and share the energy. However, I also believe that only performing would fall a bit short since I feel that a lot of the things I need to say can only be conveyed through composition.
Any new artists on your radar?
Lots from my hometown in Buenos Aires. The underground scene is thriving. I could name Ronze, Coscia and Looper as a couple of artists that come to mind. Great people with shining futures.
What has been your most memorable performance so far?
A private party held inside a recording studio for no more than 80 people. Breathtaking. The greatest sound system I’ve ever played with. The crowd was eclectic, dancing non stop for hours and scattering energy and color.
And which performance would you prefer to forget?
Once I played in a club where the usual crowd was not exactly keen to electronic music, and folks came every once in a while asking me to put on Latin music. Nothing wrong with Latin music, of course, but playing with a crowd that is just not into what you are doing, not because of your possible flaws but due to their incapacity or unwillingness to connect is not worth it and a big downer.
If you could collaborate with, or perform alongside any artist, who would it be? And why?
I think I could say Rødhåd. I love his Dystopian label and its concept and the sound he promotes. At the same time, his live performances are incredible, so dark and full of mystique.
Tell us about any upcoming shows or releases you have in the pipeline.
May is a rocky month! I have 3 releases coming up. An EP through Suspekt Records from Berlin, with 2 originals and a couple of remixes; another song for a V.A. from T4F Records, a label I work with closely here at home; finally, a composition for the Six-Year Anniversary compilation of another great label from Argentina called Concepto Hipnótico. So excited!
