Interview by Helena Markos
Today we have the immense pleasure to introduce you to Vinilette. Vinilette’s musical story begins in Barcelona at her 18´s as she started collaborating as a radio presenter in the notorious pirate radio station, Radio P.I.C.A, nourished by many music genres such as Punk, Hardcore, New Wave, Disco and more. While electronic music emerged she started combining it in her selection and began to take part in an electronic music radio show. She developed her own way of DJing and formed her background base with a unique and diverse style – never committed to one genre and with a certain approach for the obscure, raw and old school sounds.
Vinilette continued her quest for music working in record shops and as a radio presenter at Catalunya national radio station (icatfm), as well as writing for spanish magazines like GoMag or Lamono, and organising the “Femelek Festival”, promoting female electronic music composers. She also lived in Berlin for seven years. She was resident and co-creator of The Hum (exploratory club night) at Acud Macht Neu and hosts Dilettantes – at Echobucher, space for contemporary music, sound and club culture. Back to Barcelona, music production became her priority publishing for labels like “In the Dark Again” (Berlin) and making edits for the based in Madrid label, Frigio Records.
Vinilette has played worldwide in clubs and festivals such: Sónar, Monegros, Florida135, Creamfields, Moog, The Loft (Spain) Saloon, Compufunk (Japan), Mosaique (Saint Petersburg), Club Gretchen, Farbfernseher, about: blank, Krake Festival, Griessmühle (Berlin) Golden Pudel (Hamburg), to name but a few.
Today, she is ‘visiting’ Tales of Psychofonia with a heartfelt interview. She also tailors a special mix, filled with exquisite Dark Wave and some avant-guard Body Music, which is definitely reflecting her immense musical knowledge, as well as her unique and eccentric style. She talks about her experience of the confinement, her long musical journey, her recent collaboration with Frigio records, the Berlin ‘effect’ on her and the challenges of the social media exposure.
T.O.P: I want to ask you how is the pandemic and the current events in the world affecting you, both as human and as an artist?
Thanks so much Natasa for inviting me, it’s really a pleasure. Confinement didn’t affect me dramatically, as I usually spend a lot of time in my studio or home-working. I never thought that what I considered my normal life was suddenly being faced with such a challenge. For this reason, I have wondered what I had understood until now as normal life. On the other hand, my performances have been cancelled, so with the time I have now I try to get the best out of the situation, to change and work on myself.
T.O.P: Who is Vinilette, would you share a few things about your journey into electronic music?
My musical journey began as a radio presenter in a Barcelona pirate radio station, called Radio P.i.c.a (it is still operating). At that time, the electronic music didn’t yet emerged in my city, I was listening and playing on the radio hardcore, new wave, bands like Ministry, Scorn, Godflesh, The Young Gods, bands that combined metal or rock with drum machine rhythms. When electronic music emerged in Barcelona with clubs and festivals like Sónar, I started to be involve with the electronic music scene more seriously: broadcasting, writing for magazines, djing, etc…
T.O.P: You have recently released a magnificent edit of the track ‘Nothing is not done’ by Flux of Pink Indians, included on the Frigio records release – Ecdisis vol. 3. Tell us a few things about this collaboration and how did it occur?
The Ecdisis series (Ecdisis means the mold of the cuticle in many invertebrates) are a compilation of edits released on Frigio Records; I already collaborated on the 1st release of these series. This track belongs to the 3rd release of the series, which also includes edits by Juanpablo and Mick Wills. In this case, it was not very difficult to obtain the permits of the band to proceed with the release of the record.
T.O.P: Is there any person, moment or experience that has played a significant role for your expression and art?
Definitely, the experience of living in Berlin has been a big influence not only as an artist, but as a person. Berlin helped me to define myself as an artist, my musical imaginary changed completely.It was important the feeling of freedom, Berlin is a place where people can crawl out of their shells and express themselves freely. It’s a city that’s provocative and evolving. It gave me confidence in myself, to do what I wanted to do without worrying about what others might think. Which is a very kind of Berliner‘s attitude. You can be as eccentric as you want there.
T.O.P: How would you describe your creative process? What inspires you most?
I think I’m much more productive when I have something to say. I mean, in moments of special sensitivity it is much easier for me to express myself and to develop ideas, because I need to throw out these emotions. Everything flows easily.
T.O.P: How do you feel artists and the scene will emerge in a post-pandemic era?
It is very difficult to evaluate. The current situation in a lot of countries is uncertain, the governments are not helping the sector financially. Here in Spain, the government hasn’t made any effort and hasn’t given financial aid to clubs or music spaces, because we, especially the club culture is not enough important in our country. We need a dialogue with the government to discuss ways and solutions, we need urgently a perspective to survive. Of course, I’m trying to be optimistic, but it is a reality, our venues and clubs are at risk of closure if the situation doesn’t improve. On the other hand, I think it will be the time to give more importance to local DJs and artists. I don’t think that the clubs (or at least in Spain) could afford to pay high fees to big names, clubs will have to save money. Now more than ever, we should be more supportive between us in our scene and create strong collective ties.
T.O.P: What do you think are the major challenges that artists face today?
I can only answer from my personal perspective. I think it is difficult to appreciate our art immense in an overwhelming excess of information we receive daily. Our job is not only creating, but to be in a constant exposure and promotion, especially on social media. I find it exhausting.
T.O.P: Any upcoming projects/collaborations to announce?
Right now I can’t reveal much…
T.O.P: How would you describe yourself outside the venues and studio?
I’m a very sociable person, but at the same time I have a strong abstraction capacity to immerse myself in my music, my world…without the need to socialise for a long time.
T.O.P: Which piece of music or album would you suggest as a mind/soul healer?
I wouldn’t say healer, but very inspiring to me music by Einstürzende Neubauten.
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