Marvin Zeyss Interview

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– Hello Marvin, i’m glad to ask you some questions for Differentgrooves.com
What can you tell about the city you live, Nuremberg, and the electronic scene surrounding it?

Nuremberg is great, I enjoy living here a lot. It’s big – but not too big, I really like that. The scene  here is quite small, but very productive and dedicated. People are very friendly and uncomplicated here. We have some very nice clubs like Mitte Soundbar or Die Rakete and during the summer there’s also a little open air scene which is pretty nice too. There are also a few labels here like Beatwax Records, where I already released a 12” in 2012.

– Who are the main artists that influenced your musical and production background?
They keep changing, my sound always evolves. I love getting inspiration by stuff from Kruse & Nuernberg, Vincenzo, Tom Demac or Shenoda but also some tougher beats like Piemont. It really varies by the mood I’m in.

– Your stuff has been released on important labels such as Nightchild, Urban Torque, Untitled Music, 1Trax and SpaceBreaks just to name a few. Do you ever dream or focus more your energy to get released on a particular label?
Sure, if there’s a certain label with sick output you always try to get something going. But then again, for me it’s more about the people behind the label. I prefer a very friendly relationship and as I already noticed in my early steps on the scene, just because the label is big doesn’t mean working with them is fun. And the fun should always be in the first place otherwise it would just be a job.

– In your opinion, what is missing today in the deep house scene?
A new direction, I can’t hear another disco/deephouse tune with the same standard bass synth. Everything got so soft in my opinion. But that’s probably the price for the massive gain of attention for Deep House in the last time. We’re far away from being “underground” when the first tunes cracking the commercial sales charts. And to the masses, danceable, 80’s synthpop is unfortunately way more appealing. In some ways this is very good, but for me the main effect seems to be everybody trying to make that exact pigeon-hole sound just to satisfy the mass and get a piece of the cake.

– Your forthcoming release “Whatever EP” on Colorful rec. is deep and warm, what can you tell about the creation of these tracks?
People that know my sound will instantly notice that this EP is a big leap for me style – and production wise. I used to put out stuff with a slightly melancholic feeling, as you can still hear in “Solitary Life”, but the A side is definitely not what most people would expect from me including myself.
They were created at a point in my life where I was going through a lot of changes, and I think this is something that comes through here.
“Whatever” should become just a simple badass bassline mover and that worked out pretty well, also the crowds reactions were always sick when dropping this one.
“Thinking Of You” is a bit more playful and very hypnotic. That’s exactly the sound I love – something that pulls you right into another world when you close your eyes.
“Solitary Life” is more of an emotional tune, also influenced by the changes I was going through while writing it. Mario Aureo also did a sick job on this one and brought it back to the main floor a lot!
Overall, this EP is a milestone for me personally and probably my best work so far, I’m very proud of this one!

– Briefly, can you describe what is your studio setup?
Basically it’s all built around my Technics Home Rhodes, where I do some Synthwork and all Midi Stuff, Samson Monitors , PC and my DAW.

– Is anything new forthcoming in the next months you wanna tell us about?
There are already two more EP’s in the pipeline, one of them on Metropolitan where I already released “Under The Mask” last year, the other one on a totally new label and that one will also be vinyl only. All I can say is, there are some lush vocal tracks coming along.

– Thank you for having spent the time to let our readers know more about your music and thoughts!

Interview By Matteo Pitton

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