Claudio PRC‘s productions always reflect upon his self-discovery, and his third studio album is no exception. Named simply as 012, as the releases catalogue number, the album is Claudio PRC’s first solo release with TGP, a label founded by him and and a partner-in-crime Ness.
The core of the album is water, endlessly rushing forward as the modern life. The artist got the chance to step away from all the hurry, spend time in his studio and contemplate life in the light of different literature. The result is a beautiful seven-track album true to Claudio PRC’s profound, signature sounds.
Monument had the pleasure to meet Claudio PRC in his current home town Berlin, and discuss further about the album, his previous releases, past experiences and future plans.
Congratulations on your third album! Last year you released a dark ambient album Volumi Dinamici with Semantica, and it was described as the perfect Semantica sound. 012, instead, has more deep, bubbly and happy sound. Is this the perfect TGP sound?
Thank you! I would like to consider this work as a part of the evolutionary process of my own sound. My first album Inner State has a bit similar approach to the sound, it is dark, but also has some weak light. 012 feels like a natural continuation, with more light, and Volumi Dinamici has been the door to reach it. This combination had a perfect time and place, and it reached the moment when it actually suited to the TGP’s sound concept. It was a natural fit.
How would you describe your work process when making this album?
I did not plan to make a new album that time, but when this music came out, I realised how important this work was for me. When I worked on the tracks I closed myself to the studio, I tried to empty my mind and follow the flow of the music without any other influence than my past experiences. Track by track, it came very natural. I used mainly synthesizers, like the old Clavia Nord Rack, and drum machines, when making this album.
For you, techno is escapist music. Where does this album take you?
This album, as well as the past albums, are always experiences of inner discovery. 012 took me to a more terrestrial dimension, and it is linked into this dimension and reality where I am living. I feel it is concrete.
Is there a track that is especially important to you?
Each track is very important, and the album is a story whose titles also function as a story – each one describes moments and feelings. Inside the tracks, there are lots of field recordings I have made during my trips around the world, in order to give a realistic and organic portray of those experiences.
The last track, The Water – Vox Version, defines the concept of the album. At the end of the track I use a recording of a Bruce Lee‘s interview. What he said is a great knowledge about life. When making the album, I did not think about what I had made, but later I recognised completely the meaning of the work I did. For me, it became a kind of a music therapy, in order to find the balance in this rushing life.
I decided to put this little quote at the end of the track, because I felt I wanted to share it with the people who listen to my music. On the technical side, I have always admired the sampling techniques of old school DJ’s, especially in trip-hop, and I felt it was the perfect occasion to put it into practice.
There is also a beautiful part in Herman Hess’s Siddharta book, which inspired me a lot. It says:
“For the goal, the river was heading, Siddhartha saw it hurrying, the river, which consisted of him and his loved ones, and of all the people he had ever seen. All of these waves and waters were hurrying, suffering, towards goals, many goals, the waterfall, the lake, the rapids, the sea, and all goals were reached, and every goal was followed by a new one, and the water turned into a vapour and rose to the sky, it turned into rain and poured down from the sky, it turned into a source, a stream, a river, headed forward once again, flowed on once again. But the longing voice had changed. It still resounded, full of suffering, searching, but other voices joined it, voices of joy and suffering, good and bad voices, laughing and sad ones, a hundred voices, a thousand voices.
Siddhartha listened. He was now nothing but a listener, completely concentrated on listening, completely empty, he felt, that he had now finished learning to listen. Often before, he had heard all this, these many voices in the river, but today it sounded new. Already, he could no longer tell the many voices apart, not the happy ones from the weeping ones, not the ones of children from those of men, they all belonged together, the lamentation of yearning and the laughter of the knowledgeable one, the scream of rage and the moaning of the dying ones, everything was one, everything was intertwined and connected, entangled a thousand times. And everything together, all voices, all goals, all yearning, all suffering, all pleasure, all that was good and evil, all of this together was the world. All of it together was the flow of events, it was the music of life.”
You released your first music in 2007. How is the 2018 Claudio PRC different from the 2007 Claudio PRC?
Of course I am different, but the concepts, the approach, and the reason for starting to make music are still the same. I think my first album Inner State, released in 2012 with Prologue, and 012 have pretty similar concept and it is kind of closing the circle. In fact, choosing a cover similar to TGP’s very first releases is a consequence of that. Now I have another white canvas ready to be coloured, and I can start a new circle.
What has inspired you recently?
Playing inspired me the most, as well as the people I meet and talk with. When I play and have an eye contact with the crowd, those are the moments that I have put in to my music. Reading books and traveling have also inspired me.
You have lived in Berlin almost four years now. Does it feel like the right city to live in?
For me, personally, yes. That is due to many reasons, for example that here I can compare myself with the bigger audiences. Living in Berlin definitely has had an impact on my music.
Is your music a good example of Italian techno? Are there new interesting names in the Italian scene yet to discover?
I can’t say my sound is the proper Italian techno, it is one side of the multicoloured techno music coming from Italian artists. The last years many Italians have brought the name of Italy up and I am honoured if I have contributed to this.
At the moment Primal Code has made a very big impression to me. There are many others, too, and Luigi Tozzi is one of them.
You have played quite often in Poland, and producer Blazej Malinowski released an album with TGP last year. Is Poland the new big country in deep techno?
There are several artists which I follow from Poland making really great music. I can see a constant growth in the Polish techno scene in the different sides of techno music. They are doing very great and well curated underground parties also, with great lineups and a very open-minded crowd.
Having artists like Blazej close to me, and making collaboration with him, makes me very honoured. The first time I met Blazej in 2012 he played an amazing live set, and I felt that his music needed to get out because people should get his beautiful message.
During the years with Ness, we developed our project TGP leaving a space for the music of artists and friends we admire. We are more then happy to give Blazej a space.
What about you, are you planning on playing a live set anytime soon?
The only live sets I have played are experimental sets, for example for audiovisual projects. Then I have played live with Ness as The Gods Planet. I have never made a techno live set alone – yet. Maybe in the future, never say never.
You like to play vinyl records in your DJ-sets. Lately many artists have had issues with poor conditions for playing vinyl records at clubs. What is your experience about this?
I have to say that sometimes it is a big problem. I feel very sad about it, because playing records is the best way I can express myself. If I have to constantly make sure that the record does not skip, I cannot enjoy the performance, give the crowd what I want and let them listen to the music properly.
Anyway, I accept the new technologies and I am feeling comfortable with it too. I want to see it as a part of the evolutionary process, which is not bad. We have reached a great sound quality with the digital format, too.
What have been your best gig experiences from the past year, and what is your dream venue?
To be honest, it is hard to pick one. There are good memories and experiences every time. And if something bad happens, I try to take it as a good experience, too. Last year I played at a warehouse party in Sweden with Nur Jaber, we had a really good time and became close friends. Actually, I made a remix of one of her tracks for her coming album.
As a club and structure, I really love Tresor in Berlin – for example. I have played at Globus and Tresor floors, and every time I go there I think it is the club of the dreams, as well as Berghain of course, there is always a special magic in these places. Otherwise I really like smaller venues like :// about blank where I feel the contact with the crowd in much more intimate way.
Are you looking forward for certain festivals this summer?
I am really looking forward for Ozora festival in Budapest, we are playing there with Ness as The Gods Planet. After that I will be playing at Modem festival in Croatia.
Besides these, we are making Tundu Open Air party in Sardinia with TGP and two other promoters, Basstation ans Sardinian Electronic Labels. The party will be held in the archaeological park of Nuragahe, Su Mulinu, in Villanovafranca, a small municipality in the central south of the island.
The idea of the event, arranged for the second year on a row, is to combine the tradition of our territory and the contemporary musical reality. Besides that, it will be a chance to exchange and compare with the other cultures, the international guests and the local talents.
What can we expect next from you?
I am at my studio every day. As I released an album with Semantica last year and 012 now, there might be a silence with new releases for a while. However, I can never plan it, as I have a lot of projects and proposals on mind that I hope I can put into reality soon.
I have also recently participated in a project called One Instrument, a various artists release with compositions made using only one instrument. I will be busy with gigs and keep promoting newcomers as TGP with Ness, as supporting new artists is another goal of our label.
You can buy the album here.