Dark Matters with Eraldo Bernocchi

This pack sounds great, there’s a really sinister vibe throughout, do you use specific equipment or do anything particular to get that feeling when you are creating sounds?

Thank you for the kind words. I do not use anything special to get the “sinister” feeling you’re mentioning. I suspect it’s my brain that works in this way, those are the kind of sounds I like. Those or extremely heavy vs soft ones. It’s kind of interesting how you found the pack “sinister” as to me is kind of “regular”. I’ll send you some examples of creepier stuff for sure.

Photo: Francesco Filippo

You’ve been making music for a long time, what got you into this sort of music?

I come from punk and metal, which I still like to listen to and play, but I was missing the exploration and the endless possibilities that electronics give you.

I got bored quite soon of playing always the same stuff. Experimenting with electronics gave me the possibility to work alone as well as interface myself with other creative minds. You can create anything with them and I try to translate my visions into sound and music.

Did you have other influences for the pack?

Not really. When I work on a pack, or on a record, I do it first of all for myself. If I like it I then hope also other people out there could eventually like it.if not it’s ok. As far as I’m satisfied it’s ok.

When you start working on a new track, how do you typically begin the creative process? Is there a specific workflow, concept, or idea that serves as a catalyst for your music-making?

I usually start either with a sound that inspires me or an image. I mostly go by the latter or experiences or phrases I read, little stories, faces I see in the street.

I work on a lot of different layers or parts until the point of getting bored. That’s the moment I stop and start to take away elements. I work on adding at the beginning and then subtracting at least 50% of what I did. I can’t stand music that is overproduced. The more you overproduce it the less powerful it is.

Can you reveal one sound design or music production secret to us?I like to create drones and pads using ultrafast sequences, processing them into a reverb wash and working in real-time with the results.

I always record everything and then choose the best bits and pieces.

I like to use random elements, they spark ideas that I can translate into productive content. unpredictably means options and new paths.

What is the most crucial device used throughout your career? Which is used presently?

Surely my trusty Korg MS-20 from the early 80’s.

I use it every day and, to me, nothing sounds like that machine. The patching possibilities are so interesting and I hook it up with the rest of my machines.

If I think about more recent tools the Octatrack is a beast of a sampler, difficult to learn and tame, but once your mind “clicks” everything falls into place. I’ve got two of them, one is boxed and safely stored in case they discontinue it.

Photo: Stefano Masselli

We high recommend listening to more of Eraldo’s excellent music below:

Eraldo Bernocchi / Hoshiko Yamane – Sabi

SIMM – Too Late To Dream Ohm

Sigillum S – Coalescence of Time: Other Conjectures on Future