Interview with Clarian (Lost & Found, Rumors)

With over a decade of producing and spinning left-field dance
music regularly rinsed by underground pockets worldwide,
Clarian has developed a following of unconventional music
appreciators. A penchant for experimenting and sampling different spaces and shaping them between hypnotic techno and synth pop which surf on introspective synth hooks and spacey landscapes.

1. We would like to start with a question regarding you DJ debut – when has it all begun and what or who were your early passions and influences?

While I may not recall exactly my first time playing a party or something like that, I do remember the early passion brewing.

It was the end of the 90s and I was 15 years old and remember sitting next to a mysterious character in math class. While the rest of us would draw out quadratic equations and radical expressions, this enigma  was drawing I <3 Neon tags in highlighters.

My curiosity peaked and a few weeks later I found myself sneaking into a back alley door with a pack of weirdos / future close friends to be, to DJ Hell and Tiga blowing my mind and falling deep into the Electroclash rabbit hole.

And the rest is history… 

Deep House Bucharest · DHB Podcast #108 – Clarian (EDGAR ALLEN A POE)

2. Could you share with us the most trenchant moments in your artistic career?

Hmmm I’m not sure what is meant by the word trenchant in this context.But I will say, I’m drinking a delicious coffee right now and it’s so good.

3. We would really like to know what makes you play a certain record during one of your sets. Are there any criteria, other than pure subjectivity, in selecting the tracks?

There are certain records that are so magical yet perhaps unconventional in one way or another, whether it’s something about the production or the writing let’s say, and I keep those in a special place in mind. And sometimes, when the moment feels right, (a rare sweet spot) dropping a record like that is the best.

4. What is the most surprising thing you have realized during this period of social distancing?

Something that didn’t surprise as an unknown so much as a crystal clear reminder is just how many talented budding producers there are right now.

Running APO has opened my eyes to just how many amazing tools and resources are currently available in 2020 and that with the right guidance, people can excel in music production far more quickly than let’s say what I had available when I was getting started in the 90s.

Seeing a collective community grow of people sharing their knowledge and growing together is actually a positive use case for the internet and seeing my community do that everyday has made me very proud and excited for the producers on there.

That’s why I’m really thankful to share their work today on your platform and for the world to check out!

5. Can you please tell us more about the project “Go from zero to pro with Clarian: The Complete Audio Producer 2020”? How did you get inspired on this idea and what were the results?

I’ve answered this question in a bunch of interviews now, so this time around, I’d like to do something a little different and answer it by going over the winners APO’s Third Monthly Challenge.

You see, every month our school has a Monthly Challenge where you are given a specific set of instructions to build a production and then we select the winners. In fact, the mix that I’m presenting to you is a selection of the winners of our Third Monthly Challenge, Edgar Allen A-POE (our special Halloween challenge).

Each production you’re about to listen to is a reciting of an Edgar Allen Poe poem late at night with other specific production parameters.

We received submissions from all over the world and the result is a unique sonic journey through the spooky side of things.

Perfect for your Halloween listening.

The Outstanding Production Award went to Qin Yu opening up the mix with an incredible journey in high quality production strokes with The Conqueror Worm.

From the haunting Gothic selection and instrumental performances of orchestral strings, organs, and choir, to the excellent vocals on top.

This is an exceptional piece of cinematic production through and through. Moving along this theatrical thread, Best Cinematic Production went to David Olivier with his submission of The Haunted Palace. A production that could fit seamlessly in a favored RPG of the likes of Bethesda.

Best Ambient Production is awarded to Daniel Sommers with his spacious and dreamily introspective Shoegaze, Spirits Of The Dead.

Most Original Mix went to Pablo Asturizaga for reshaping Alone into a beautiful twist of fate presented as an electronic progressive journey. It’s as heartfelt as enticing and worth every second of the ride.

Extra points for tasteful use of Flanger and Chorus. The Best Performance went to Rocío Rocha with a chillingly unforgettable emotive rendition of Ulalume. 

Clemens Rieder gets Best Sound Effects and Matt Deason got Most Evocative Production providing a stunning Vangelic musical backdrop. A personal Favorite….

Finally the Best Arrangement went to Corey Levin with Dream Land (a story that unfolds creeping to its own dark and awesome pulse)!

These are some of our top producers from the APO community where we teach audio production, have discussions, and help each other out to grow.

It’s been a saving grace for me throughout the past few months. I hope you enjoy the mix and Happy Halloween! 

6. Any advice on staying fair-minded, balanced & confident during this period?

I’m going to let you in on a little secret: every day, once a day, give yourself a present. Don’t plan it; don’t wait for it; just let it happen.

It could be a new pair of headphones, a catnap in your office chair, or two cups of good, hot, black, coffee.

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