Originally hailing from Sweden’s refined techno sphere, Alexi Delano has celebrated an abundant year of releases from his current headquarters in Brooklyn. Before concluding a prolific season both in the studio and on the road, the multifaceted underground stalwart introduced his latest production undertaking: The Art Of Collab.
Showcasing a trio of original collaborations, The Art Of Collab: Part One (available now) denotes the inaugural installment of an ongoing (three-fold) studio series between Alexi and his dependable artist affiliates. As an exposition of successful industry cooperation, the episodic project aims to illustrate the unexpected and meaningful outcomes of two producers sharing the creative process.
Leading off the first edition of The Art Of Collab, Alexi joins his fellow Swede, Par Grindvik, to deliver Subtle Breathe–an entrancing embodiment of melodic minimal. Invoking a multi-layered rhythmic format, the EP’s primary track coins its individuality from a stable alignment of several parts: rolling percussions, radiating string reverbs, and wobbling bass pulses.
The second collaborative piece features the heavy-hitting techno influences of American producer Tim Xavier. Thumping along at a vigorous 128 BPM, Relics Of The Past dons a top-heavy bassline, complemented by a slew of intermittent background samples to embroider the otherwise drum-centric formula.
Last but certainly not least, Alexi presents the EP’s designated single, She, Beautiful Affinity–an enlightening tag-team production featuring the musical prowess of Germany’s Diynamic label-member, Stimming. Sifting through the gentle sounds of softcore tech house, She, Beautiful Affinity adheres to an elegantly syncopated rhythm, while enclosing a number of quirky “bleeps” and “clicks” throughout its whimsical atmosphere.
Between the holiday madness, we got the chance to chat with Alexi about this exciting new collaborative project. Check out his personal take on The Art Of Collab below, and be sure to grab part one of three right here on Beatport.
It’s been said that The Art Of Collab began as a “happy accident.” Please elaborate on the early days of the project and how it all came about.
Cari [Lekebusch] and I had been talking about me putting a project together for H-Productions for a long time, and I didn’t know exactly what type of project to work on, until this one evening: I was in the studio organizing my music computer, and I came across this folder that had been sitting there for a while named “Duets.” The folder contained loads of unfinished tracks and ideas that I had worked on with friends visiting in and staying in my apt in New York through the past five years.
How did Cari end up signing the Art Of Collab: Part One to his H-productions label? Will all three parts be hosted there?
Skipping though the projects, the idea dawned on me that this should be the project that Cari and I had been looking for. A long process of finishing them all up concluded in a three part series for H-Productions. There are actually a lot more tracks left to finish, but some of these friends are now so busy that it’s hard to move forward with them, or our styles have changed so much that there is no point of even trying to revamp the ideas. Others will slowly see the light of day on other labels.
Do you and Cari have a collaboration that we’ll get to hear soon?
As a matter of fact we do, but on a deep house tip, a la old SVEK style. I’ve been sitting on these specific two tracks for about five years, but now it’s time to get them out. They are timeless and will be coming out early next year on my label, AD limited. The EP titled ‘Senses’ will include two very nice remixes, one by Klartraum and another by Nadja Lind.
How do you feel that working with another producer affects the outcome of the musical product?
When I first started producing I preferred working alone, but I think that it was mainly so I could figure out my own style and technique before moving on and collaborating with anyone else. Nowadays, I really love working with other people and with that, many times I expand my knowledge of production technique and sound; I often learn something new. To actually sit in the studio with someone is, to me, the second half of the creative process; it always begins with a conversation that rarely is about music. Then, after that, if inspiration sparks, I’d move on to the studio.
Have you learned a thing or two from these recent collaborations?
I’ve learned, shared a lot, and I’ve seen some proper masters at work–and that is always inspiring.
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