We’re back! After an involuntary pause, Good2b’s ‘b2b series’ return. Sau Poler, our latest interviewee, said that one of the producers that have drawn his attention lately was Lost Twin. But for many, Carlos R. Pinto isn’t a newcomer. Since he released Birds in 2012, Lost Twin hasn’t stopped developing his hypersensorial fabric by way of dreamy beats combining psychedelia, funk and hip hop. Besides being a consecrated remixer (more info here), last year he put out The Mist on Squaring The Circle, home to I Am Dive, among others. We talked with Carlos about his work, his performance at Sónar this year and some more things that have little to do with his music but which are as interesting.
I guess you’ve been asked a thousand time: What was a guy from Seville living in Brighton and producing instrumental hip hop beats?
The thing is, back in 2010 I was living in Barcelona with to more friends and a label from Brighton got interested in the music I was posting on Myspace. They offered me to play there, so the three of us went there and we loved the city, so we decided to move there and try our luck. I was then taking my instrumental music more seriously and it was there where I really consolidated my Lost Twin project.
In what sense has living in a British city instead of Seville influenced you musically and professionally? I’ve heard you’re back to Seville. Why?
Professionally, the fact of having a steady job, unrelated to music, which allows me to live independently and still have time to devote to produce and perform. And in relation to music, it was a pretty productive stage (I spent a lot of time making music at home, partly because of the terrible weather there most of the year), which also helped me make my live performances more consistent. I’m glad to have met very talented producers there almost since I arrived, and now see their evolution after a while. I returned because I was starting to feel very tired. I just had the feeling my time there had ended and decided to come back home, be close to the people I love try to do my bit here.
A lot has been said about the “Barcelona scene” as something tangible and real. I think it’s too early to talk about a scene, though it’s true that we’re going through a particularly creative phase. Is Barcelona ahead of other places in Spain in this respect?
I agree with you, I don’t know to what extent the term “Barcelona scene” is something promoted and felt by musicians there or the idea of a bunch of media, some of them from abroad, that doesn’t seem to be interested about what’s happening in other parts of the country (maybe they should find other places to go on holidays). Obviously, Barcelona is well ahead of what’s going on in other cities as far as contemporary culture goes, concerts, clubs, record stores, etc., and all this contributes a lot to any scene. But as I said before, I don’t know if the many and very good musicians from there see this scene as something real or if they see consider themselves part of it.
As far as music hoes, I don’t think we’ve developed a truly native sound, with few exceptions, that allows us to talk about a scene as for example those of Detroit or Bristol. The only truly original proposal I saw at Sonar this year was El Niño de Elche and Los Voluble (I arrived there when they were finishing and had to look for the video on You Tube), about whom nothing is said in foreign media, the same media that talks about a hypothetical “Barcelona sound”. It makes you wonder!
I don’t think we’ve developed a truly native sound
Speaking of Barcelona, tell us about your performance there this year. I don’t know about you but the more expectations I have about a performance, the worse it is in the end…
Same for me! The more nervous I am and the least confident I am about what I’m going to try, the best my performances are. At Sonar I was confident but wasn’t too happy about my performance in the end. I made a few mistakes that made me nervous during the show and I didn’t enjoy it as much as I would’ve liked. I’m sorry about Ylia and Gabi, who had to put up with my anger after the show.
What does Sonar give to the city? What does it give to producers and local DJ’s? Who need who?
Going to Sonar mean soaking up in current elelctronic music trends and meeting lots of colleages, which is always welcome. It can be said that, to some extent, it turns Barcelona in a meeting point for national and international Dj’s and producers. As for the last question, I’ll answer with another one: if Sonar presented a bill with no national artists (which I expect it never happens), would they continue making money?
Good question. They probably would. Now, changing the subject, I must admit (I’ve told before) that I played Birds on my iPod a lot back in 2012. In what sense has your discourse matured from Birds to The Mist?
And I appreciate your words again! Over the past few years I can see an evolution in the fact that, with experience, I’ve learned express the music I have in my mind with greater accuracy, speed and economy of means.
if Sonar presented a bill with no national artists (which I expect it never happens), would they continue making money?
The only way to make money with music nowadays is by playing live. Have you ever thought about making more club-friendly music to perform more often?
The truth is that I have never considered adapting my music to this or that style. My only goal is having fun making music, so that “perform more often” battle is lost in advance. But I’m not worried. I have started other more dance-oriented projects, but it will rest quietly in my hard drive until the day I decide to release it. And it’s not the only thing going on so far…
So here’s a question then: what are your releasing plans in the near future? Do you feel you have the same energy as when you started out?
I do, but they’re too many to list here and I prefer not to say too much in case some of them stay in the pipeline. Anyway, I can tell you they’ll have a different sound than that of ‘The Mist’ because I don’t feel like making to another album so overdone and with such a tedious mix process with pieces with a thousand tracks, at least for now. I feel the same energy and even more, even though, like everyone, I have my bouts of creative crisis, but I’m here to stay.
Do you have a twin brother somewhere? If you had one, what music do you think he would make?
We all have one, that’s for sure! I’m not sure what he would do, but I wish he were a really cool jazz drummer so we could play Found Twins-like shows together!
Could you recommend us an album that is a must for Lost Twin?
I was going to mention Can’s Future Days, but I always mention that one, so here’s another I discovered recently that I regret not having listened to it way before, ‘The Black Saint and The Sinner Lady’ by Charles Mingus.
And a book?
Dostoievski’s ‘The Karamazov Brothers’.
And the essential machine (synth, sampler, beatbox…) for Lost Twin?
It’s hard to choose one because I love them all. I recently bought a Tanzbär I’m completely in love with.
If we ever go to Brighton, where would you take us to eat?
On Friday we’d have dinner at Curry Leaf Café, a place I discovered during my last trips there for work. Everything’s delicious. On Saturday we’d go for sushi to Okinami and on Sunday at lunch time we’d go to have a good Sunday roast to Royal Sovereign.
And a restaurant you always go to when you return to Sevilla?
The No Lugar: the food is excellent, as well as the presentation and the decoration. I strongly recommend it.
And that last question. Sau Poler asked us what was the track from The Mist that took you longer to finish.
The last one, ‘Coda’, definitely. This is a collaboration with Van Delay. It took me a long time to find the way to develop the second part of the track. I have to thank him for his patience and good work because I was bombarded with different versions of the track (there are over 30) and he went about trying out various instruments until we found one that we finally liked. The truth is that it is one of my favourite tracks from the album and I’m glad I spent so much time and effort and that Van Delay was there!
Now as you know you may have guessed, you have to propose a national artist to interview and a question.
I propose Cauto, and my question is: tell us about the influence your environment has had on your new album.
Thanks a lot Carlos!