Exclusive Interview: Five Minutes with Panaviscope

In Interviews, Magazine by pg-admin Comments

Bringing an assortment of psychedelic/space rock guitars, surrealist themes, effective synths and pop influences to the game, Panaviscope has shared his debut single, ‘Kiss Yourself to Death’ via How Bad Pretty Bad. The track presents a dark spin on the otherwise lighter world of pop, with both lyrics and the steady rhythmic beat of drums.

Multi-instrumentalist Alex Duloz is the driving force behind Panaviscope as he composes, plays the relevant instruments and provides the vocals. Based in Switzerland and verging on child prodigy territory, Duloz was writing songs on the family piano from the age of six.

We decided to learn a little more about the man behind the mask as he finally begins presenting his sound to the world.

Set the tone for us. Why the arts?

The first time I played music I thought: “It feels soooo good!” It’s that simple, really. Playing music triggers a series of chemical reactions that I love.

Which comes first when you’re producing – the sound or the idea?

The sound. A kind of internal mythology that wants to materialize sonically. A vibe.

Does your material feature any collaborations?

Not yet. I have many ideas. Unexpected ideas. But for now, I’m looking to work alone.

What’s on your current playlist?

Orville Peck. 

Tell us about the chemistry you have with your fans on stage.

My sets are built to please people. I’m not trying to be conceptual on stage, or too intellectual. I play my songs in the style of a DJ. Quick. Effective. Powerful tempo.

What techniques do you experiment with to get your original sound?

I record the first version of a song. I delete everything but the vocals. I re-create the song around the voice, delete, re-create, delete, re-create until I find what I am looking for. Then I listen to “Drunken Butterfly” (Sonic Youth) and I ask myself: “Have I pushed my song as far as they have pushed their song?” If the answer is “no”, the process continues.

Take us through a day in the recording studio.

I will make as many choices as possible during a very limited time, the first fifteen minutes of work, in general. Then I dedicate myself to materialize these choices during the rest of the day. I do not take my phone with me. There is no internet connection in my studio. Only books. And I spend the day composing and reading.

Was there a specific moment in your life where you thought, “this is what I want to do”?

I started composing music when I was 6 years old. I’ve learned as many instruments as I could (piano, guitar, bass, drums). I play music like others play sports. It’s a lifestyle.

What do you keep close by while you’re playing a set?

A book. Seriously. The Cold War (John Lewis Gaddis)

Any emerging artists on your radar?

I’d say Kit Sebastian… Very 60s-ish.

What gets your creative juices flowing?

The music of other composers. And… History. I read a lot of history books.

Take us through your collection of gear, tech or software that accompanies your creative expression.

Logic (composition). ProTools (mix). Fav plugins: Arturia for virtual instruments and UAD for effects. I own a Fender Telecaster, a Vox Amp, and a P-Bass. A Juno 106 and various synths.

Any side projects you’re working on?

Yes. A French pop project named “Freddie Welcome”. 60s kitsch.

How have you refined your craft since you entered the industry?

I would simply say that I am becoming more demanding, which pushes me to raise the level. I make at least ten versions of a song before validating it. Before, it was five.

Breakdown the news for us: what can we expect from you this year?

A new EP, and the first LP. I’m really trying hard to hack pop music. Expect sounds you have never heard before.

Famous last words?

“He tried hard in his cave. Then he went out.”

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