“I got bored of hearing the same 4/4 motifs like snare drums and claps on the beats 2 and 4, which is the common house method of punctuating the rhythm,” Steevio states. “I just sat down and said I’ll never ever use those things, so it leaves it open to me mixing different polyrhythms together to make new rhythms.”
[…] Steevio sits on the reams of recorded material he generates, as his understanding of the modular way develops, letting months pass by until revisiting the results and whittling them down to workable tracks. With an ever-strengthening command over his music in the instant that it’s being produced and moving away from laborious arranging and editing, it’s palpable to see the correlation with his rock band roots. “It’s just like practicing on an instrument,” Steevio enthuses. “When you first start you’re a bit clumsy. You haven’t quite got the control, but as you go along you get slicker and slicker.”
It’s safe to say there aren’t many artists producing tracks quite like Steevio at the moment, and he’s the first to acknowledge that it’s difficult at times to see where his brand of bumping, complex techno fits in at a time when Ostgut Ton and Sandwell District rule the day.
From “Modular techno, acid rock and Freerotation: A discussion with Steevio” (pubblicato originariamente su Junodownload)