“Being and explorer and an artist is too risky and you can find yourself isolated from the scene. It is obvious that I try to balance between these two worlds, the world of art and the world of profit.”
Check out the interview with John Ov3rblast exclusively on Skilly Magazine Online.
Skilly: Where did this all start? Tell us about your journey in the entertainment business.
John Ov3rblast: From the early 80’s. My first sound experiences from the legendary artists Vangelis, Jean Michel Jarre, and Brian Eno were the moments that I realized what I love most in my life. The decade of the 90’s took me by the hand and led me into the rave culture organizing parties in secret locations and experimenting with sounds and equipment. With the use of hardware equipment, I have discovered the principles of reverb, the art of noise, the way to sculpt your sound in different ways with endless possibilities.
I continued my journey through the early 2000’s trying to explore the sound composition through digital equipment. 2007 was the year that I made the final decision to devote myself completely into sound composition without trying to gain any kind of fame or reward from it. From that moment I found myself releasing in more than 40 labels and Netlabels across the world. I set up a web radio and my Spaceal Orbeats Records label that expands my connectivity with other artists and bigger audience.
What would be your biggest piece of advice for the young kids out there trying to do what you do?
Try to think out of the box and experiment more. Money and fame have nothing to do with your music exploration. Music is a mission. It doesn’t need words any kind of special equipment. It needs only an open mind, a warm beating heart, and your personal honest devotion.
What are some of the hardest challenges and tasks in your position?
The hardest challenge is to not repeat myself in any of my projects. Music for me is still a sacred art. I try to translate my messages though frequencies and to bring them to the surface. The music industry has been ruined from the flat sound profitable theory. Being and explorer and an artist is too risky and you can find yourself isolated from the scene. It is obvious that I try to balance between these two worlds, the world of art and the world of profit.
We all know the entertainment business is very tough, but what do you find is the best way to promote and advertise your music?
The best way is to come closer to your audience through live performances. Book yourself, hire venues, travel, release in trustable labels, and try to communicate with other artists. Try to come closer to the audience, use your intuition to see what needs to be done and where things are going. Plan yearly where you want to go, your next steps, and do not spend any amount for faking followers or plays.
Tell us about your city. How are the artists and the fans?
The city of Manchester is a live music organism. You can find yourself wandering through different music gems, from fusion jazz to deep techno, from blues to Irish traditional sounds. The decade of the 80’s with the foundation of the madchester scene with the New Order, Happy Mondays, or the legendary club Hacienda still are embraced by all generations.
Where do you see yourself a year from today?
I see myself somewhere deep in a forest with my sound recorder trying to explore the sounds from the sacred owls.
Who and what were your biggest inspirations? Who do you look up to in today’s world?
My biggest inspirations comes from the classic music of Beethoven, Bach, Berlioz, Erik Satie Chopin, and from my early electronic stage of Kraftwerk, Brian Eno, Vangelis, Tangerine Dream, Jean Michel Jarre, Underground Resistance, Aphex Twin, Autechre, and Philip Glass.
My everyday soundtrack comes from Deep Chord, Carbon Based Lifeforms, Celer, Phillip Wilkerson, Wolf Maps, Discknocked, Dergar, and anything that sounds drone-like and abstract.
How do you feel about the music coming out today? Do you like it?
There is a hidden movement that is trying to expand the sound experience independently though Bandcamp’s digital store. I found myself lost in there for hours and days. The majority of the music production sounds repeating and extremely predictable. There is no art, no love and passion.
Where can we contact you and find you online?
Google+: John Overblast