Bermano is showcasing “Xyloflare,” an atmospheric electronic production, ethereally melodic and with an experimental hint. The composition unfolds with a calm introduction and progressively evolves into a more energetic finalle. Read our discussion with the talented artist below!
Describe your sound in 3 words
Melodic, textured, playful.
Can you elaborate on the creative process behind Xyloflare, its dynamic shift in tempo and how it adds to the overall narrative of the piece?
Most of the tracks I’ve done take a long time to finish, it normally takes months of tinkering and fine-tuning until I’m happy with it. This one was started and finished within a week as everything just seemed to fall into place and come together organically.
Originally I’d written the whole thing in the fast Drum and Bass like rhythm of the second part, but realised that if it was preceded by a more relaxed half-time beat then the build-up and climax would be more effective. When I’m composing I always try to think about the big picture, keep the melodic and rhythmic elements interesting and dynamic, and direct them so that they build in a satisfying way.
Transitioning from being a pianist to exploring electronic music is quite a shift. What inspired this change, and how has your background in classical piano influenced your approach to composing electronic music?
I’ve played piano since I was 3, and took it to quite a high level. After high school I stopped taking piano lessons, stopped practising for hours every day, and started to dive deeper into the world of electronic music. Even though I would still regularly play the piano, my main passion was discovering and listening to new electronic music. I loved the boundless capabilities of it compared to a piano or any other traditional instrument. It opened up a whole new world for me, although it took me until I was 27 to actually start making music of my own.
That background in piano hugely influenced the music I make. I can’t help but make tracks that are melodically driven. There is always a lead melody, a counter melody, a chord progression, and melodic development. It’s a different style, but I don’t think it makes the music better or worse than someone without that background, in fact most of my favourite producers aren’t classically trained. In any creative pursuit the lack of theoretical knowledge can help or hinder. You may make more mistakes, but it can also open you up to being more experimental and original.
But overall, electronic music production is incredibly complex and less intuitive to me compared with learning an instrument, so I’m very thankful to have begun playing piano so young, at least the music theory side of it has always made sense to me. It’s in my bones. I can’t imagine I would have had the stamina to spend years learning about all the facets of sound design and mixing if I didn’t have that solid foundation in music theory and musicianship.
Living in Mexico, a country known for its rich musical traditions, has there been any local influence on your electronic compositions? Are there elements of Mexican music or culture that you find seeping into your work?
I don’t think I’ve been directly influenced by traditional Mexican music, but moving overseas from Sydney to Mexico has changed me as a person and the music that I make. I didn’t even begin making music until I was living here, and may never have started if I’d stayed put in my hometown.
What I like about living in Mexico is that there’s so much stimulation. You can’t hide from it. Noises, smells, buildings, food, people, traditions, different ways of life. I’ve been living in various towns and cities around the country for 4 years now, and I’m still surprised and delighted by things I see while walking down the street almost every day. It’s quite a contrast to Sydney, which I love for its natural beauty, but at this stage of my life I’m more drawn to the chaos, unpredictability, and unique culture of Mexico.
Which is your go to synth (analog or digital) when you start a project?
I normally like to start with a sample. It’s a great way to breathe life into a project. Take a simple guitar sample for example. That’s someone that has trained for years to play an instrument I can’t play, on a guitar I probably couldn’t afford, recorded on a mic I don’t own, mixed by a professional, mastered by another professional. That freshness is instantly inspiring, and a great basis on which to form more complex musical ideas.
After a sample then I’ll normally start jamming on my keyboard, with a patch I’ve made previously in Serum. I separate my sound design and composition sessions as I don’t like to sit and tweak a synth for hours when I’m in the process of creating a piece of music; that can really suck the momentum and inspiration out of a project.
If the music of Bermano was a film, which film would that be?
One of my ambitions is to score the music for a movie, and the movie I’d have most liked to have written for is Drive. It’s a very visually appealing movie, with sparse dialogue, some dark characters, a bit of violence, and an interesting love-story. The songs by Kavinsky (Nightfall) and College (A Real Hero) fit so well, and Cliff Martinez did a perfect job scoring the rest of the movie. I’d love to work on a film like that.
If you could change anything about the music industry, what would it be?
I’d like there to be a more clear cut pathway for young and emerging artists to showcase their music and build a fanbase without having to consistently post clips to social media. We’re introverts for God’s sake!
Which Superpower would you choose?
The music-related superpower that I’d choose is the ability to un-hear music that I’m working on and listen to it again with completely fresh ears as though someone else had made it.
Thank you!
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