At that moment I felt that strong urge to give them this type of signature, but it was completely random. This kind of curiosity definitely gave birth to some of those. It became a sort of mission to actually get one working and have stuff sound depressing and sad no matter what you put through it. Bill some time ago and we had these semantic jokes, funny moments like “multiband depression” – it was really amusing but I was thinking about how this stuff would actually sound. Initially, they were a complete mess – just a bunch of knobs doing unexpected stuff – but then I started playing with the UI in the actual patcher. I had a lot of these lying around and then in my free time I would play around with stuff that I actually don’t need but I was wondering, can I accomplish them, can I make them work? What if I try to make this and that and how is it going to sound? So curiosity is a fun factor every time of course, and they have stuff that I am going to use a lot for my own production. I’d be able to do that stuff really easily, whether it’s some sound design for a film or an advertisement – stuff I’ve been doing for the past two decades. Throughout the production I had to have simple solutions fast, specific solutions I created for certain scenes. – Speaking of plugins, I’m sure many have seen you showing your cyberneuro plugins on social media. After the first, you feel like you have to step it up and try to outplay yourself which is always an interesting challenge. As for the next album, it’s a continuation of this story. It’s a natural calling for me to push this forward and gather more supporters who feel like they belong here. Genres have limitations but when I say cyberneuro there is so much creative freedom, playing with plugins, tempos, and more. When you look realistically at the way people combine cinematography with modern beats it can be described as more than just 1 simple genre. It’s a kind of term I came up with when thinking about combining the terms neurofunk and cyberpunk, it’s new but they don’t sound too far away from each other. One of the interesting ways to describe these visuals was always with good music and vice versa, they have a very nice aesthetic marriage which I call cyberneuro. I’m a big fan of William Gibson and ever since I was a kid I was really into this style of cinematography. I’ve got about 7 albums worth of material, and I’m switching tunes back and forth between them. What’s good about the whole creation of this album is that I can take a fresh approach, there are a lot of things to fine-tune based on previous releases. – We’ve seen you mention a new album on Facebook, how is your style evolving? Will you continue with the cinematic approach or move more towards your pre-colossus EP style? This, coupled with a fascination for science fiction and cyberpunk aesthetics culminated in the creation of everything from his Colossus EP, right up to 2019’s Nomad’s Revenge.Īs a risk-taker and someone who believes that music is about innovation, we talked with him to delve deeper into what he is trying to create. Appearing around 12 years ago, he’s come to be associated with a fast-paced and frantic style of drum and bass, a style specific to himself. Billain is a unique force in the drum & bass scene, striving to do something that hasn’t been done before: Taking a cinematic approach to drum and bass in a new movement he calls cyberneuro.
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