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ITW : SNTS RELEASES HIS NEW ALBUM, THE UNFINISHED FIGHT AGAINST HUMANITY
The anonymous artist SNTS has been a major player in the dark, gritty underworld of industrial techno for the past six years. He is well known in the world for diffusing his warehouse sound, both as performer as well as the head of two imprints; SNTS Records and Sacred Court Labels.
“The Unfinished Fight Against Humanity” is SNTS’ third full-length album. Ten tracks that are born from the combination of historical, mystical and current references, which lead to a reflection of how the human being can complicate its existence due to behaviour and the consequences that derive from such actions. The dark, hard and energetic rhythms of the album narrate the coexistence of diverse human values throughout history, from peace to war, from love to hate, from empathy to ego.
You have been releasing your music since 2015, “The Unfinished Fight Against Humanity” is your third full-length album following “The Rustling Of The Leaves” in 2015 and “Losing Sight” in 2016. After a long time involved in this project, it is finally time to share it with the world. What’s the story behind the title?
The title refers to the constant confrontation that humans are having in the world today, where hostility, competitiveness or violence between individuals have sadly become some of the most common social behaviors.
When producing the album, how much did your persona (with the mask) influence your creative process? What are your main influences?
There are many factors that have influence in me when creating new material. All my experiences, conceptual ideas, personal stories, surroundings and my own soul become part of that creative process. Over time I discover new sources of inspiration and new ways of working, which give me an ever-widening range of possibilities to express myself.
Over time I discover new sources of inspiration and new ways of working, which give me an ever-widening range of possibilities to express myself.
Would you say that most of your tracks are conceptualised prior to writing and recording, or are a lot of these a result of spontaneous jamming and random ideas? How much of your creative process is based on instinct and how much on conscious analysis?
I always start by testing machines and creating patterns. I have the habit of starting with the kick and the bassline, but I have to admit that many times great things have come out randomly or by mistake. The ability to create music is wonderful; it’s like entering a parallel universe where you can do and undo as you please, and where many times you can obtain completely different results, depending on how you decide to guide that journey…
In your words « The human being has been created to live in society, the problem arises when society fails to coexist or compete to survive ». What do you think about the social and political potential of underground (club & techno) music?
To be honest, I think the terms techno and underground are lately becoming separate and independent concepts in this world invaded by social media, as the quick and easy possibility to discover new music is within everyone’s reach. Also, I think the techno sound has become something that has caught the attention of a wider audience in recent years. In my humble opinion I feel that when we refer to underground techno we are referring to the most experimental and raw sound, and not aimed at a mainstream audience. I think that the use of the word underground in 2020 is really based on the concept that everyone has about it and the references they may have.
To be honest, I think the terms techno and underground are lately becoming separate and independent concepts in this world invaded by social media, as the quick and easy possibility to discover new music is within everyone’s reach
You kept your name and private life secret. Your music seems to be the only direct output. Can this be understood as a «social or political» statement?
It is not at all a statement of any kind. As I have mentioned in previous interviews, I am a very shy person, so being anonymous makes it easier for me when performing. Despite the existence of this duality, the fact of being able to develop it helps me to separate the artistic life from the personal one, which I consider really necessary and vital.
Despite the existence of this duality, the fact of being able to develop it helps me to separate the artistic life from the personal one, which I consider really necessary and vital.
The last track on the album, “hopeless” is an ambient track with very subtle elements and a dark and intense soundscape. What is the story behind it and what kind of emotions did you want to express with it? Is this your conclusion, there is no more hope?
I have used this track for a long time as the closing track for my DJs and live sets, and it represents a complete break with everything experienced up to that point. The reason for the title comes from the growing inability to believe that the human being has any hope of improvement. I hope and wish I was wrong on this.
Which pieces of gear or software did you use for this new album?
AKAI MPC Live, Orgon Enigiser, Matrixbrute Arturia, Miami Acidlab, TR8-S, Tinysizer, Novation Peak, pedal effects, some VST’s and an iPad Pro.
You played live acts with hardware machines. What excite you about working as a live act compared to DJing?
I really enjoyed playing live sets, but stopped doing it about 3 years ago. It was very difficult to travel with so much luggage, and especially to find clubs with adequate space for all that amount of gear. It was very stressful and chaotic. I decided to create a hybrid between live and djset with ableton, drum machine and Ipad for effects. This gives me versatility and infinite possibilities that 4 cdjs wouldn’t give me, that’s why I continue to use ableton to this day. I have a lot of fun with these hybrid sets.