Ana Artalejo pka Annie Hall is a Barcelona based electronic music artist whose work spans IDM, electro, breaks, ambient and acid. Ana has been releasing music since 2008 on labels including; D1, Detroit Underground, Semantica, CPU and most recently for the Exit Planet Earth series on 20/20 Vision. Artalejo is selective with her output and always manages to find the space that exists between the sounds, producing expertly crafted tracks that stand out as interesting and unique. Ana self taught herself vinyl and dubplate cutting and spent several years living over the bridge from Detroit. I caught up with her around the release of ‘Invisible Dust’ for Exit Planet Earth for a chat about it all…
(RL) I believe you grew up in Madrid?
(AH) Yes, I grew up in Madrid
(RL) Did your early years in the city inspire your musical path?
(AH) I think so yes, because you always feel inspired with the things that surround you. I was also very inspired by my brothers and parents music. They always liked many different styles of music, so then my inspiration comes from everywhere
(RL) When did you first come across vinyl and do you remember some early records that left an impression?
(AH) Vinyl was always around me because my family loved music. My brother Jose was a DJ before me. I actually can’t remember a time without vinyl in my life. He lived in England for many years and sent me all types of music but my favourite were from Jamaican - all old reggae, roots and dub styles. I loved those ones. I still listen that sound almost everyday; Studio one, Trojan records, Taxi Records…
(RL) Your music is always complex with a fine ear for melody. You work really hard on the structure and composition of your music – did you get classical training or pick it all up yourself?
(AH) You know what, for some reason always they just came out like that since the very beginning of my musical journey as a producer. Of course, I listened to Autechre, Drexciya and Aphex Twin and great artists like that and probably ideas came from the music I listened to. When sometimes I tried to make less complex music and regular dance floor stuff I just felt that it wasn’t my world. Naturally when I sit in the studio my music just comes out like that. I don’t fight it or try to sound more dance floor or follow trends. I just make what comes from my soul - no matter if most people don’t understand it.
(RL) You started releasing records back in 2008, did that co-inside with your move to Barcelona?
(AH) My first vinyl release was on D1 recording and at that moments I was still living at my parents in Madrid, it was very young still…
(RL) I moved to Barcelona just 5 years ago right after I came back from Canada and USA where I lived for almost 6 years.
(RL) It was an exciting time for electronic music in Spain around then with some really interesting artists and labels emerging including, John Talabot and Hivern Discs, Pional, Architectural and the Semantica label. Was there a spirit of collaboration at that time or everyone living in their own studio bubbles?
(AH) Yes, there are many good artists and labels coming from that era in Spain. It was a great feeling but honestly I didn’t know any of them in person. I know Architectural now as Juan is a great friend of mine actually and amazing artist.
(RL) You worked with the Semantica label right? There’s an early split release with Plant43 on there?
(AH) Yes! One of my releases on Semantica was called ‘The Elephant Road’ and was on a split EP with Emile Facey (Plant43) because the Semantica label owner thought that would be a great idea and it was! I love Emile’s music so much, one of my favourite artists out there.
(RL) Then there’s a big gap in the your vinyl releases - nothing came out until 2013 with the Random Paraphilia release on Detroit Underground, what’s the story?
(AH) I think there are some of them but all digital records. At that time I was more working on Detroit Underground records than making my own. Also I work as a vinyl cutter for a while so I was involved on music just in different forms…
(RL) Yes, I read you got into cutting vinyl records and set up RVSD dub plates and mastering, that’s a pretty unusual route to take for an artist! How did that happen?
(AH) Yes, that was an amazing experience! I was working with Detroit Underground and we realized it would be fantastic if we could make our own records. So we went for training in Germany and bought a lathe. The amazing part is that we did records for DETUND and also for other labels and people. I wish I had the machine over in Spain but when I moved to Europe bringing that machine over was way too expensive due the weight. Maybe I’ll get another one in the future J.
(RL) Do you think working out mastering and cutting vinyl had a positive effect on your productions?
(AH) I was more into the cutting side while Kero was the one for mastering. Working on music in all different forms always has a positive effect.
(RL) Detroit Underground (DETUND) is a multi-disciplinary art collective, aside music what other art forms are the collective interested in?
(AH) Kero is 100% Detroit Underground. He’s interested in all types of art in every form from the music on the label to graphic design to art. Many other things also he actually has a shop where he sells art and synths and modular racks. I don’t think there are many labels so involved in art as much as DETUND
(RL) There’s a lot of crazy looking modular synths on the Detroit Underground site, are you into modular set ups and have you got into modular design and build?
(AH) Our neighbour in Windsor was the person who designed the modules for DETUND because he has a Computer Science PHD. When I lived and worked there I was just involved on ideas for modules and using them of course. Windsor is just across the water from Detroit and is known for it’s most famous export - Richie Hawtin. Although it’s across the border in Canada how much artistic crossover is there between the cities?
DETROIT UNDERGROUND
(RL) Did you travel over to Detroit a lot?
(AH) My house was on the riverside in Windsor, which meant I was closer to Detroit than Windsor downtown. I pretty much went to Detroit everyday, when you are there it just took a minute to drive across the border so basically it was the same as living in the D.
(RL) You don’t make that many records but when they come out they are always special. Sound design is always at the forefront of your releases, from intricate little glitches to thick and heavy bottom end you really understand and use the full frequency spectrum. Has this become an instinctive, natural process or do you really push yourself to find space in the music?
(AH) This is totally something that comes from me naturally. I need to hear space and a track isn’t finished for me until it has that sound.
(RL) You’ve forged a strong relationship with CPU records from Sheffield in the UK, how did that come about, did you just send CP Smith some demos?
(AH) It was exactly like that. I knew the label and fell in love with the sound on there, then I thought maybe my music could fit too so I sent a demo to Chris who I didn’t know at that point but is a great friend of mine now and I was amazed when he said yes! It was probably one of the happiest moments on my musical journey so far.
(RL) Have you ever produced for film given your love of sound design?
(AH) I did for some music for advertising and projects with friends but never for a real film. I´d love to though…
(RL) How do you feel about live shows, have you played live or do you prefer to DJ?
(AH) I played live many times, but I haven’t for 4 years. I’m planning to do it again soon. I just need the time to get ready…
(RL) Are you feeling optimistic about the future?
(AH) I always try to be optimistic in general. So I´d say yes.
LISTEN
Scan 7 - Mental Reaction (Annie Hall Remix)
Annie Hall – Herschel (CPU)
Annie Hall – Curie (CPU)
Annie features on Exit Planet Earth - Nitrogen available at Juno Records here
Annie Hall - Invisible Dust (20/20 Vision)
You can also find Annie at Natural Selection London where she is resident DJ, latest mix for Slam Radio…