Coffee Break with Shiffer
The past few years have seen new kid on-the-block Shiffer, quite literally, causing chaos in the cosmos of the musical realms. His catalogue arguably small but impeccably selective, he’s chosen his flourishing grounds well - citing Siamese, Innervisions, Sum Over Histories and AYM as the labels lucky enough to get a taste and play platform to his rather fruitful and intense style; music which he himself labels as ‘romantic, honest and authentic’. His latest productions have successfully been testing the waters both around the world and in a manifold of recorded sets, leaving us guessing for multiple months on end now as to who exactly is the mastermind behind such soundscapes; productions we are now fully acquainted with the release his newest EP on Exit Strategy. Following with its title, the EP is, in Shiffer’s own words, a ‘heart over head’ production, so we took this time as the perfect opportunity to catch up with the Basel-born artist, and focus the attention on the logistics behind it all, as well as getting to know him a little bit better.
Hi, Shiffer - great to have you stop by today. What is your current mood as we speak?
Hey! First of all thank you for having me on board for this interview. My mood is pretty good, I’m currently sitting in the studio and enjoying a good coffee.
So let’s dive straight in. We have just seen your debut on Exit Strategy - your ‘Heart over Head’ EP. Can you what this release represents musically for you as an artist?
For me as an artist, it’s important to sound different to everyone else and create tracks which are different to everything else being released. My goal is to create lots of different moods and styles in my productions. On that note, the tracks I make should have my certain signature sound ingrained.
Was the intention of the four tracks in the EP to be released together collectively, or were they more cherry picked to merge as one release?
I first wrote ‘Heart Over Head’ and ‘Chaos in Cosmos’. The tracks ‘Jimmy’ and ‘Gallows Bird’ were borne half a year later. Although I created a few other tracks in between this period, I felt they didn’t go together with the others, or they weren’t good enough. As soon as I had the other two tracks it was clear what was missing for the EP.
Gear used by Shiffer to make this EP.
You seem to have used quite a specific set-up of machines and instruments for the EP. What exactly was used and how did each piece help you achieve the final outcome? Generally speaking, has this set-up always been standard for you, or has it been more a case of trial and error?
My setup is about 50/50 analog and digital. I use my small modular system a lot to create random sounds and noises. I also love to sample my own drum sounds, such as shakers and other stuff. For the pads and more wider sounds I love to work with my Novation Supernova.
I change my setup around every half a year. Right now, I’m using a lot more digital equipment such as the plugins from Sound Toys. The main peace of gear I used for this EP was the Make Noise Morphagene.
Aside from the mentioned equipment, what else went into making the EP? How many coffees did you drink during the creation process?
First of all, a lot of time. I’m in the studio everyday for around three/four hours in the afternoon. I’ll normally drink two coffees during this creation time. In my studio breaks, I listen to a lot of different-genre music, as I don’t listen to electronic music besides when I’m in the studio or out clubbing. Musically, I’m really into old Blues and Soul - maybe this is helping shape my productions.
The name of the EP is seemingly quite a personal interpretation as mentioned in your Facebook post - how you always try to lead “with the heart and not the head, while creating music”. Is there anything more specific and personal about this release considering you could have used this concept before? Would you say that all each track showcases the broader side of your production talents?
For me this release and ‘Magnum’, which was released on Innervisions last year, are in a sense the wake-up calls to tell me that I am good enough to show my music to the world. For years I was thinking that my tracks were not ready to be released. But I think it was a good thing to wait that long.
I am in general a bit of a self-critical person. And sometimes I overthink too much, and that’s not good. I am constantly working on this problem - this is also where the EP name comes from.
As you also talked about the release being “a testament to letting go of overthinking and an immersion in the creation process”, what was the biggest challenge against your natural way of thinking whilst producing the EP?
I’ve been producing music for around 15 years now, which includes my early beginnings. I’ve learnt over this time that if I’m not in the flow and the muses are not kissing me, the tracks are not vibing. All my released tracks have been created between one to two hours, from start to finish - this is also where the name of the EP comes from. The most important thing that I’ve learnt for myself is to not force things whilst making music; to just go with the flow.
It’s interesting to see you use a Casaba out of all the electronic machines in your production set-up. What was your thinking behind using this piece of percussion? Considering this is a direct contrast between the traditional and more modern musical technology, would you say this is an important aspect in both the way you view and make music?
I use a lot of percussion sounds in my tracks that I record by myself. I think they sound more organic. The fact that I`m not able to play this instrument exactly in time to the beat, like a drum machine can, gives the beat a certain swing. I don’t like it when certain sounds are too perfect on the tact. I also don’t quantize my synths a lot. Sometimes mistakes give life to a production.
Much like the contrast of the analogue and digital instruments you’ve used, your track ‘Chaos in Cosmos’ also poses quite a juxtaposition in its meaning. You’ve talked about how the track was produced during a more restless time of your life. How so? How did the making of the track help you through this specific period?
My studio work is kind of an escape volt for me. It’s the only place where I can just concentrate on one thing – music. I write really good music when I’m depressed. I have had some problems with anxiety attacks from time to time. Maybe that was a time I had these when I created the track, I don’t remember.
You describe ‘Chaos in Cosmos’ as a ‘somewhat more spherical and quiet production’: lots of producers usually do the opposite with their music, letting out all the madness with their songs musically, but it seems quite the opposite for you. Was there a specific reason as to why, or did it just come naturally?
Like all my tracks, which just bump out of my spirit, ‘Chaos in Cosmos’ did too. I can't describe it, but it’s one of the best feelings when I create a track and after a few minutes everything is in the right place. All elements are matching and you know you just did something special. This is what makes me addicted to this work.
For ‘Chaos In Cosmos’, you worked on small modular systems quite a lot, and relied on the Make Noise Morphagene even more so. It’s quite a technical machine, isn’t it? Have you used it much before, or was this the first major time it had been used? Did you choose it out of a recommendation from someone/somewhere?
A guy from my hometown in Basel introduced me to the modular world. I first bought a Moog Mother and a few modules. After a while I saw a video on the internet about the Make Noise Morphagene. I use it a lot to create random sounds (I love drone and random sounds, by the way). On this EP, and especially on ‘Chaos in Cosmos’, I used the Morphagene to get the abstract vocals and drum sounds you hear.
Let’s break away from the EP and get to know you more as a producer… How would you describe your style and technique? Is there anything you would hail as your niche during your creation process? And, is there anything you are currently learning or improving to become a better version of yourself as an artist?
I’m not a big studio nerd in general, as I’m too lazy to work with big setups and prefer working with less machines at the same time. My technique is more of me just jamming around, and working with that one sound I know will be the theme/main sound of the track. Over the years I have trained my ears to know what sounds will be the main acts in the tracks.
To improve myself, I listen to a lot more music in my studio. Two years ago I was working in my studio for the sole purpose of producing music. Now I’m taking more time for myself to listen to exactly how music is made. I’m fascinated by the details you hear if you take time to listen.
Would you say you are from a musical-orientated family, and if so, has this influenced you in your career?
My grandfather was a semi-professional musician but my parents were not musically orientated. They did want me to learn the piano as I was a child, but I was more into playing football. My love of music grew as I became an early teenager.
Is there any particular track(s) which helped you become passionate about electronic music?
When I was a child, during one Summer, I received a CD from my friend’s elder brother. On this CD there was music from Daft Punk, Benni Benassi, Mr. Fingers, Roger Sanchez and Crystal Waters. I travelled with my parents to Italy, and for the journey I was listening on my Discman to the CD like crazy. My parents told me I was dancing for the whole trip in the back seat - this was my first memory of dance music.
In three words, how would you describe your music?
Romantic, honest and authentic.
What artists are you currently looking up to right now for inspiration?
For music within the scene, it would be Aera, Sei A, Dorisburg, Chaos in the CBD and Ross from Friends. However in general, I listen to the likes of Thom Yorke, The war on drugs, James Blake, Willie Dixon, Ludovico Einaudi and Muddy Waters.
Do you always lead with the heart over the head?
Definitely. Or even better with my gut feeling.
interview by joanne philpott
Shiffer’s ‘Heart Over Head’ EP was released on Exit Strategy on 21st August 2020. You can purchase it here