For its next dancefloor trip, Hell Yeah Records takes a look through the weird and wonderful lens of Brussels-based Caramel 3000 who serves up four cuts that merge leftfield electronics, dark disco, and ancient cosmic wonderment into captivating new forms. Caramel 3000 operates at the fringes, where eerie textures, irregular arpeggios and silver-tongued samples all coalesce in his sonic brews. We ask him to give us a little more insight into the deadly, dark, and delicious new EP.
Caramel 3000 on the overall EP.
With Rapido Superstudio, I wanted to create an exaggerated assemblage. I cherished a cut paste approach, and I tried to bring it to the extreme. I wanted to make it loopy: repetitive and very slow. Production-wise, I tried to work differently from anything I’ve done recently. I would typically get to the mixing stage with 10-15 single channels per song and generally come out with very polished projects.
On the contrary, each of these songs has around 50 individual channels. The mixing engineer panicked when he realized where he got himself. I wanted it to sound like a messy collage, and it does.
Ottagono corse revolves around a hypnotic arpeggio that modulates quite brutally. I fumbled over my modular synth, ruthlessly changing waves on a Multable Plaits. Then, I overdubbed the arpeggio on the OB-6. I think the two instruments are slightly out of tune, but the effect is cool. I kept the original recording with some holes and weird changes. On top of it, Gilles Deleuze speaks about “desire” or something like that.
When I wrote Super Rapido, I was pretty excited about a toolkit of toys for kids that I bought in Brussels. I wanted the song to be messy and filled with eerie sounds. I started sampling each of the kids’ percussion. I realized it was not enough, and I ended up shaking the whole bag of toys. One can hear that quite clearly, I think.
Julia Kristeva is talking about psychoanalysis. She goes perfectly over the loopy drums. The bass comes from a DX-7. The song was supposed to have four extra layers of conga that the sound engineer deleted. It was initially a gigantic collage of percussion recorded out of tempo. This version is extremely stripped down. But this way, it works better on a dancefloor.
Here the elephants are in full glory. I got the idea from Tarzania on Violette Szabo. There’s a whole jungle in there. Dirty synth lines come from the OB-6, whereas the bass comes from a DX-7. I pretty much use only the bundled plugins from Ableton, but on this, I got the marimba midi from Scaler 2. It’s an excellent tool for arpeggios. I was bored and had COVID, so I ended up watching tutorials on how to make it work.
A few final thank you words.
We’d like to thank Caramel 3000 for this exclusive interview and for giving us a deeper look into the creative process behind the Rapido Superstudio EP. We’re deeply impressed by the way Caramel 3000 combines leftfield electronics, dark disco, and ancient cosmic wonderment into captivating new forms that really make us feel something special when we listen to these songs. Make sure you also check out the Rapido Superstudio EP which is available now on Hell Yeah Records!
As ever, keep your eyes and ears open for new music from Caramel 3000 as he has plenty more in store for us over the coming months. Until then, stay safe, be kind to yourself, and keep supporting independent music. Peace out!
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