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EISM is a cross-genre electronic project developed by Bucharest-born artist and producer Marius Copel. EISM's first studio album, Ecstatic Technologies, has been designed as a sound engine for endless stories and uncharted depths. An intimate journey through luminous nights and nocturnal middays.
Now he presents Tughra 0.02, his latest release and this is the result.
Can you tell us a bit about your experience? Where are you from / how did you get into music?
Hi, there! I was born in Bucharest in the 1980’s, and currently residing a bit in Italy. I guess I was involved in the music world since a little kid, one way or another. It was a big part of my daydreaming process, after heavily watching bootlegged VHS tapes with the music of the era. I really started to play with synths and visiting professional music studios in my mid-teens. I started with electronic music, then got involved into hip hop for a brief time. And again techno, post rock and ambient. And so on. Now I try to combine everything I love in to my sound. No norms imposed.
How is your sound evolving? What artists and genres do you like to mix at the moment?
My sound is getting deeper and more powerful. I have always tried to bring a cinematic/poetic feel to my music but now I am also oriented to bring some visceral experience to the plate. I am not a DJ, but I will develop a remixed showcase of my music that has the intention to be danceable and more direct.
How do you feel your music influences or impacts your listeners?
I really hope that my work takes the listener, even for a very brief moment, in another space, in a different dimension. I like to imagine that you can listen to some of my music while walking and the street, and the colours, the light, the feel of the environment, impact you in a new, different manner. Maybe then you discover something completely new about yourself. This is what I wish, at least.
Do you feel safe now to play a more experimental sound?
For me every session of work is playing with experimental sound because I have no classical training. And I am happy about it, now. It’s a new territory to discover every day, without rigid paths and processes. I love to experiment and mess around.
We all know that the digital revolution has affected sales, but has it affected creativity?
The main problem, in my opinion, is the algorithm-based consumption. Just because a track has high numbers (plays, views etc.) it does not mean it is a relevant piece of work. The listener has to put in then work to explore a bit on hers/his own terms. It is so rewarding! In matters of creativity, I believe the digital revolution is a very good thing. It gives you access to a huge legacy that can help you connect dots on fresh, distinctive, paths.
Can you tell us about your present and future projects?
I’ve got a new live act designed that I started to showcase. I am planning a series of shows that will involve also other fellow artists, that will be called “Cinematica.Live”. An itinerant space dedicated to audiovisual performances. Later this year, I will release a new full album. I am trying to expand a bit my sound journey. It will be a blend of two story paths and ways of approaching the sound and I really wish to get something compelling out of it. I will be called MEKANIKARU+URAL.
BUY:
https://electronsinslowmotion.bandcamp.com/track/tughra-002
