‘Polyphony’ is a term specifically chosen by Fur Coat to emphasize the celebratory concept behind their new album. To further the theme of ‘many’, Sergio and Israel also open up their studio, inviting friends in. From the haunting, indie beauty of ‘Hurricane’ with Running Pine (already a Beatport chart-topper), to infectious melodies created alongside Julian Wasserman, Hunter/Game and Sly Faux, or Delhia De France’s seductive vocals, the duo generously and effectively demonstrates the benefit of collaboration.
To celebrate the release of Fur Coat’s second album, ‘Polyphony’ on Renaissance, Sergio from Fur Coat and Martino from Hunter/Game interviewed each other. Having been friends for some time, Hunter/Game appeared on ‘Alloy’ on ‘Polyphony’.
Sergio from Fur Coat to Martino from Hunter/Game:
Sergio from Fur Coat: Hey, Martino, nice to be in touch today. What was your first approach to electronic music? When you decided to start producing and how did you guys start producing as Hunter/Game?
Martino from Hunter/Game: I made my first approach to electronic music when I was 16. During that period, I was playing with my band for a few years already; I wanted to put new elements into our music, so I started to use some music software to improve the drums and the atmospheres. The more I learned these programs the more I understood that I could do all the production by myself, having more freedom in the process. I started to listen and produce electronic music and after two years I met Emmanuele. He was already a DJ and already into the club scene of our city. We decided to start a project together.
I remember our references were Trentemoller, Apparat, Nathan Fake, James Holden. At that time the clubs were full of minimal and tech house, but we wanted to bring more electronic and ambient elements into the club music.
Sergio: We met personally I think the first time at a festival in Amsterdam where you played after us. I think from that time we kept in touch and crossed paths several times like ADE, Beirut, and other places. I think from that point on we figured we had a nice vibe that naturally came in, and also we shared a similar music taste and quite a similar path. Adding to that we both have labels, ours, Oddity, and yours, Just This. What is your focus for Just This? to support new artists, release your music, or what is your vision on this?
Martino: Ten years ago, Just This was born as a series of parties in Milano and our idea was to make people listen to a certain kind of music. Milano has its own atmosphere and style and we always tried to bring this kind of mood around the world.
We opened the label with this concept, trying to export our experience of music and art to other people and other cultures.
Sergio: The first collaboration between us was the remix you did to us on Last Night On Earth, followed by a remix to Oostil on our label Oddity, and finally we managed to collaborate together on this original track ‘Alloy’ for our album. How was your first impression of the parts I sent you for the collaboration?
Martino: I love the work you are doing with the music and the label. I always play music from Oddity because I find your music great for our voyage. When you asked to do a track together I started to work the same day with the stems you gave me. I built a track behind your melody adding some chords and a progression of notes. In this track, you can listen to a mix of Fur Coat and Hunter/Game elements and we are very happy with the result.
Sergio: Can you explain a little bit of your workflow on production? Do you prefer hardware or software, or do you believe in the combination of both?
Martino: I like to mix the hardware with the software. The perfect combination of analog synth and the virtual instrument is what I try to do because I like music in general and not only one particular way to produce.
I use some analog synth because, of course, they sound better and I like the workflow with them. I have a Moog that I use very much for doing basslines and sequences. I make 90% of the drums with the Analog Rhythm by Elektron and I can say I use it every day of my life.
I started to produce with software and I really like to use them as well. Lately, I bought the Omnisphere and I am learning a lot of stuff with it. I think you can do more things with the programs if you have a clear idea of what you want to do.
“In this track, you can listen to a mix of Fur Coat and Hunter/Game elements and we are very happy with the result” – Martino
Sergio: With all this strange year, and clubs closed have you been able to play during these past months? What’s the most productive thing out of this whole change setting?
Martino: It is a very challenging period for us but it’s also a great time to be creative. It can be a time of opportunity if you want it to be and we are very focused on the productions and the studio work.
In these days where you can’t go outside or have a party, you can find your own path thinking about what you really want to do with your music and creativity.
Martino from Hunter/Game to Sergio from Fur Coat:
Martino from Hunter/Game: You guys are from South America but now you live in Barcelona. Do you feel some differences in the club culture and what made you move to Europe?
Sergio from Fur Coat: Yes, we were born and raised in Caracas, Venezuela, but the music career was the main reason to move out of Venezuela. Living in Barcelona was our first choice because of the weather, the language, being such a beautiful and artsy city, and being relatively small as well as a great hub for traveling.
In Europe, the club culture, as well as cities of the US like Detroit and Chicago, is where it all started. So, the main difference is here in Europe, people are very used to clubbing, so there are so many places, clubs, festivals to visit. It’s kind of like a very made system where in winter you play clubs, and in summer you focus on the festival season. Also, people are used to having many parties here and the constant visit of DJs, so people see it a bit more normal.
In Latin America, especially in Venezuela, where we live an eternal summer, we don’t have that difference, you can do an open-air or a club all year. Also talking in terms of Latin America, all DJs that visit from Europe or the US, do it usually once or twice each year around a tour, which makes each visit more special. So, I guess the Latin American crowd celebrates, enjoys, and goes to each party with all their energies and you can notice they take the experience a bit more like an event.
Martino: Do you have some analog gears in your studio? Is your workplace in your house or you prefer to keep the things separated?
Sergio: Yes, the main studio is in my place. I love analog gear, but I’m a believer as you that everything is balanced. I like to use both digital VST and Analogue gear. I have a few selected gear in my studio like the Moog Subphatty, the Hydra Synth, the Elektron Analog Four MKII which are key pieces lately in my productions. I’m also a fan of VST like all the Arturia collection, the Omnisphere, and for mixing all the UAD plug-ins.
I have the studio in my house, as I feel nothing is better than just walking from your room to the studio and keeping it creative whenever you want. I’m not used to having it separated as it takes and makes the pressure of leaving your house and having done something after a studio session.
Martino: Congratulations on your album. I think it’s a good achievement to reach for you. When did you produce it? How did you organize to work on it?
Sergio: Thanks, brother, happy to have you on board of this. You and all the collaborators are part of this second album from us. I had a clear mind about what and how our second album should sound and aim. It took me 7 months to make it. We had a lot of touring schedules that I thought would be more complicated to achieve, but with the whole pandemic, and being home, I drove my energy towards this.
In this album, I wanted to have friends and people who we play music with and have worked or aimed to work onboard. I think we manage to create a nice story and a perfect balance between originals and collaborations. Definitely a highlight for me goal wise on this 2020.
“We manage to create a nice story and a perfect balance between originals and collaborations” – Sergio
Martino: In Spain (as in Italy) you had a lot of days of lockdown during this period. How was your typical day? Did you feel inspired by the world outside of the studio?
Sergio: Wow, the lockdown here was pretty hard. Both countries suffered great impacts from the pandemic. At the beginning, I was very confused and frustrated by how this whole thing snowballed. At some point, I just embraced it and had to make a routine to stay positive and creative. So, some days I started exercising, other days I focused on how to make the perfect pizza dough, others I just watch Netflix and chill. But what I tried was going into the studio as much as I can with a clear mind on the ideas I had, to turn them into music.
From here I learned that inspiration doesn’t come to you, Inspiration is a habit too, this comes from practice and also from hitting the studio one day with no expectations and just learning from each day to turn that knowledge into a positive thing and get inspired.
Martino: What do you have in plan for the future after this second album?
Sergio: Well we already have lined up several remixes and some EPs for 2021. Expect a collaboration with another friend from the album, Julian Wassermann. After the album, we started working on many more ideas and we already have two EPs and a remix together.
For now, still working in the studio every day to schedule things for next year, as well as working on the music coming on Oddity, which we have a very busy schedule almost until the first quarter of 2021.
Fur Coat ‘Polyphony’ is out now on Renaissance. Stream and buy here.
Follow Fur Coat: Facebook | Instagram | Soundcloud | Spotify
Follow Hunter / Game: Facebook | Instagram | Soundcloud | Spotify
