The moniker “The Analogue Cops” speaks itself about the soul of this duo: hardware-only sounds and vinyls are the must for Lucretio and Marieu, italian artists who have been pushing the analogue assaults and refusing the digital approach since 2007. They play in vinyl only as djs, while they use analogue equipment to produce and perform live – no matter if techno or house, their imprint is raw, solid, unique. They got known for continuing in the vein of mad, purist records, and for managing many other labels and projects with respectable artists of the actual techno scene – Blawan, Steffi, John Swing and EMG to name few.
Hello Lucretio and Marieu, I’ll start going deeper into the beginning of your career and the birth of an artistic duo. What kind of empathy and complicity should be generated for two different persons to create a unique artistic identity? Which are the meaningful factors apart from the shared music vision and the lifestyle of each component?
Marieu – I and Domenico come from the same town, Cadoneghe, close to Padua. I met Domenico for the first time in Barcelona, I went to live to his place during his erasmus scholarship experience. In the beginning we were sharing just the passion for music. Our background was different, I was fascinated by house music while Domenico was mostly into techno. But when I move to Spain, I got in touch with a totally new world. Thanks to Domenico, we both developed a pure love for techno, in particular for the Detroit scene. We’ve spent some time together in Barcelona, then Domenico moved to Berlin while I remained in the spanish capital for some more. After some months, we found each other to live together once more, this time in the german capital. At that time we didn’t write anything together yet. We’ve spent many hours in Eduardo De La Calle’s house, he was so kind to let us use his studio, full of outboard equipment. This led us to develop our own ideas and turn them real: Domenico had a proper technical knowledge (he studied SAE Institute in Spain) and Eduardo helped us in the use of his several machines. We immediately felt we were in harmony, and after one year of homemade productions, we decided to print our first record on the newborn Restoration (september 2007), maybe one of the darkest period for vinyls into the electronic music scene…
You guys moved to Berlin, perfect city to approach the top dogs of the scene and highlight your job to them. Do you think talent and self-confidence are enough to go forward into one’s music career?
Marieu – Beyond talent, perseverance is the key factor to go ahead. One has to be also patient, and yes, being extroverted might be really useful for advancing
Often and gladly, you’ve started many parallel projects with renowned artists. ‘Third Side’ with Steffi, totally managed by Ostgut-Ton, ‘Parassela’ with Blawan, ann last but not least ‘Austerity’, the newer one, which I personally discovered at Hardwax falling on the description “one sided white label from the Parassela crew: nasty, distorted techno”. How do such prestigious collaborations get set by artists? Do you spontaneously meet to make music and then think about the results, or do you sketch an artistic concept out before making music? Reveal to your fans some intriguing story!
Marieu – We’ve started many projects with different people from different nationalities. Truth is we never planned anything, records just came out without any need to sit all together at the same table. The first collaboration ever we still run is Appointment with our close friends EMG e John Swing (Relative – Warm Sound). We called it this way as every time we meet, means it’s our appointment, a special occasion to make music, a jam session set in Berlin or in London, doesn’t matter where: when we join, we get inspired. We’re also very happy about Third Side, this collaboration was born after an exchange of records. One day we asked Steffi if she was in the mood to make something all together, and then it all began so. It’s really intuitive making music with her, she is very cultured in terms of music knowledge and use of hardware. During the new year there will be great news about Third Side. Same happened with Blawan, we were playing together in Mestre (Venezia) and I asked him to step by Berlin to spend some hours in studio. He bought a flight and after two weeks we were forming the first Parassela’s tracks. We also own Bratha with No Mad Ronin, another collaboration with dnp guys, some unreleased material with Steve Murphy and Die Roh to be spread later in 2015. I can only say that running different projects contributes to get a wider vision of what music means for people.
Lucretio – I don’t feel like talking about Austerity, I can only confirm it’s the meeting of talented and riotous people from suburbs.
Describe in five adjectives the stamp of your music… may I suggest to begin with “raw”?
Marieu – Housy, fat, dusty, functional, essential.
Flexibility is a strong characteristic of The Analogue Cops, you’re able to perform and produce house and techno with the same efficacy. You repeatedly played into techno’s temple, many times at Panorama Bar and recently also at Berghain. In which genre you would better identify yourself?
Lucretio – We’ve always been influenced by house and techno at the same time. This crossover is our main point of strength, that’s why we identify ourselves with both genres. Techno was born from house, and house from disco music: this is the story. When we play it’s a different matter, we don’t follow conventional schemes as we like ranging from house to techno and vice versa.
Your music has been released by varied record labels. Apart from Restoration and Appointment, the enduring collaborations have only been Hypercolour (for their limited edition Hype_LTD) and Out-ER, one of the first labels to get interested to your productions, on which you’ll release your second EP named Desk Jockeys by the end of january 2015. How much important is for you knowing the artists and the label’s aesthetics to work in long terms?
Lucretio – Long term relationships get established on mutual respect. For me, the label’s aesthetics doesn’t count that much… of course, it doesn’t make sense to deliver 140 bpm tracks for mellow sounds oriented labels. I gotta say we really like working with labels such as Hype_LTD and Out-ER because they leave the artists express themselves.
The vinyl’s resurrection has been an actual theme in the last years. A lot have started their own imprint to release one’s own music, it was considered as dead and nowadays it’s saturated and full of valiant products. Dominik Bartmanski e Ian Woodward, sociologists “obsessed” by music, have involved Efdemin, Monolake, nd_baumecker (and more) to closely explore this topic, indeed they declare: “The book focuses on the Berlin house and techno scene”. Can you bring us forward to what you say into the book?
Lucretio – We were asked to explain the productive and management processes behind the vinyls print, to talk about our experiences in this world. We described how the scene was when we began Restoration in 2006, how it developed afterwards, and what’s happening in 2015. In 2006, releasing your music on vinyl was seen as madness, as “pain in the ass”, while today everyone wants his music on vinyl and pressing plants get 30-60 days of delay… many records circulate, but what about the quality of music? I let you reply about this topic.
Name ten records which have marked and influenced your career.
Jeff Mills – Changes of life
Underground Resistance – Living for the Night
Anthony Shake Shakir – Get a feeling
Cristian Vogel – Body Mapping
Robert Hood – The Pace
Akabu featuring Linda Clifford – Ride the Storm (Joey Negro Solar Jazz mix)
Horsepower Productions – The Swindle
Blake Baxter – Our Love
Drexciya – Andreaen Sand Dunes
Theo Parrish – Serengeti Echoes
Well, thank you Lucretio and Marieu for this nice conversation!
The Analogue Cops (Restoration / Hypercolour) – IT