Facebook Instagram NL   EN
20.09.2018 | Words by: Elisa Luengo
Some of you might know me already, most of you probably don’t… so let me introduce myself first. I’m Elisa and I’ve been helping Luc with bookings since a few months. I’m writing in the blog for the first time because I wanted to share my excitement with whoever is reading this. For this weekender I had the chance to invite LANOCHE, one of my favourite Spanish artists for an evening live set in the garden. She makes some of the deepest, most suggestive and delicate music I’ve ever heard. While writing my thesis, I would get into an enlightened-trance-mood listening to this set on repeat. In De School, we luckily have the opportunity of booking smaller local acts that operate outside the margins of the bigger industry circuit. There is so much fresh talent out there, that the most satisfying part of this job is shining a bit of light on them. If I managed to spread my enthusiasm, I hope to see you at the garden on Sunday at 17:00. Meanwhile, here’s a short interview so you get to know LANOCHE a bit better:

Q: The first time that I got in contact with your music, your artist name was LINCE. Why did you change to LANOCHE (“the night” in Spanish)? What has been your development as an artist since then, and how has your sound matured?
A: Years after I stopped using that alias, I see LINCE as a project of initiation. I thought the name sounded pretty and fitted in a concept of ambiguity that felt comfortable to me. As LINCE I did my first live shows and I also DJed quite a bit. I think some aspects of my personality were already visible in those first productions, although now looking at it in retrospect, they appear to me as quite immature and unfinished on  an artistic level. I believe that we are in constant personal and artistic evolution, and I feel much happier right now with the change to LANOCHE.
Q: Your music fits better with your “new” name. It suggests atmospheres that can be easily connected to a nocturnal aura. Where do you get the inspiration to achieve such an intimate sound?
A: The original idea of the project was to make atmospheric dance music that could fit in the context of an underground club. The experiences I had in nightclubs have left a big mark on me, like it has on many others. Right now, I’m at a different point in my life in which going out that often doesn’t occur so naturally anymore. However, that aesthetic vision remains. In a way, it is interesting how the club aesthetic transcends the club itself, and so many people stay immersed in it. Even those who don’t go out as much anymore. We keep on emulating and working on those concepts that at the time touched us so deeply. And in many cases, new elements are added while we grow and new interests arise. To me, that phenomenon is very interesting.
I think that the kind of dance music that has interested me the most has almost always been the one that is not just meant for dancing, but is also capable of generating abstract and evoking atmospheres. Therefore, I’m also interested in ambient and other kinds of more minimalistic and experimental music. I believe that many things can fit into this project, and in every aspect I can leave my personal stamp as long as I do it with honesty and without prejudices.
Q: I also find your music very cinematic. Are you inspired by film? If so, by which kind of movies, directors or genres?
A: Of course. Film is an endless source of audiovisual references. Years ago, when I was between 18 and 22 years old, I had a period in which I watched a lot of movies, even 2 per day. I would regularly go to Madrid’s film archive, videoclubs, etc. I was very passionate about it and stayed up to date. I must confess that now I watch less films. I feel like it’s harder for me to sit down in front of a screen for a while. Although sometimes I still do, and end up enjoying it. For sure soundtracks leave a mark and turn into a fundamental influence. I recall going to the movies with my big brothers when I was 9 to see Dracula by Francis Ford Coppola. I remember being very shocked, but even back then the music caught my attention already.
Nowadays, when listening to Wojciech Kilar’s soundtrack and I’m still very impressed by it; these works are of such a high level possible, and made by great composers. Other renown composers like Bernard Herrmann, Ennio Morricone, Mark Isham, Angelo Badalamenti, Vangelis, Cliff Martinez, etc. are big influences to me as well. To me it’s quite evident that your sense of melody and formulation of dramatic tension is marked by these works, and even more when you really enjoyed them and watched them countless times.
Q: I find interesting how in each of your interviews you try to get rid of labels at a creative and personal level. What does it mean to you maintaining an independent discourse in these times of pigeonholing and social polarization?
A: I think I’m scared of precisely that, of being pigeonholed, or ending up boxing myself into a determined artistic genre. Mostly, because that would result in  a restriction of freedom and I concieve art as the world of freedom, the world in which we can be whatever we want to be. I strongly believe in the importance of reclaiming the freedom of doing whatever you want to do with your work, and ultimately with your own life, each day.
Q: How do you see Madrid’s scene? Why does it seem like there are not so many local artists taking the leap into the European circuit?
A: It depends on what you compare it with. think that in Madrid’s case there has always been many good artists and DJs. I believe than in every corner of the world there are passionate music lovers. In Madrid there have been periods with great clubs, and that has left a mark on a lot of people. Indeed, it’s true that it’s hard to internationalize the work of local artists, although a few do to a greater or lesser extent. The career management of an artists depends on a series of factors, and it seems likely that living in cities like Berlin, where there are clubs and festivals with a big exposure, can help considerably in comparison to other periferic scenes. However, I believe that when the work is of true quality and other aspects such as communication are good enough, nowadays it shouldn’t stop you living in one country or another nowadays, especially within Europe. I believe that especially the quality of your work maintained over the long term is what will make you achieve an interesting and sustainable artistic career, which for me is preferable over an occasional success in a given moment.
Q: Which under the radar Spanish artists would you recommend?
A: At the moment, Spanish artists that you could consider underground and in my opinion are really good, would be: DJ F, Estrato Aurora, Jose Rico, Elías Merino, Narcoléptica o Don The Tiger (even though this last one lives in Berlin), among many others.
Q: You often play in live format, so I guess that you produce music kind of on a regular base. Your podcast for Sónar for example has very interesting unreleased material…. However, you face releases with an unhurried mentality. What motives do you have behind that decision? Do you have any projects coming up?
A: I guess that I might overthink too much. I find it hard to reach that point where I feel like a track is worth being released. Some tracks have emerged while preparing live shows and during that moment I thought I could end up releasing them. But in the end, when I got back to them, I didn’t see it happening.
I’m not really worried about the idea of not releasing regularly. Actually, I find the idea of having to release just to maintain a certain stronger image as an artist depressing. If I don’t feel like a record is actually worth it, I’m not interested in releasing it. I would like to release some work soon though. Possibly, some material might be coming out on a couple of labels including my own.
Q: What did it mean for you getting your EP selected by Terre Thaemlitz (DJ Sprinkles) as one of her favourites of 2016?
A: It was such an honor. I admire her work a lot and receiving her support was very important for me. She’s a big example of great artistic production that is both intelligent and beautiful. I think it was a very generous act from her side.

LANOCHE will be doing a liveset Sunday afternoon the 23rd of September, during Het Weekend 22.09 – 24.09. Find the timetable for Saturday night until Monday morning here, and tickets for Het Weekend here.
Bekijk video
Your browser is out-of-date!

Update your browser to view this website correctly. Update my browser now