Alongside his remarkable contribution to the series, Vinicius Honorio shared his thoughts about his career, his label Liberta Records, next projects, inspirations and aspirations!
- Hi Vinicius, we are glad to host you on Paradox. What have you been up to lately ?
Hi, thanks for having me. Recently I quit my 9-5 job and I’ve been pushing my music forward like there is no tomorrow. It’s been a lot of struggles over the years, and still, but nothing buys the joy and satisfaction to be able to work with what I love full-time.
- Only a few artists have found their specific sound and we really think you’ve found your own… How would you describe your sound by the way ? What gears/vst’s are the most important to reach this specificity ?
I am happy with how my sound has shaped up over the years. Finding your sound is a constant journey of improvement track by track, avoiding being stuck. I’m writing music that has a good drum groove and a strong personality. Most of the time it comes leaning towards a more hypnotic side of the techno spectrum. I’m mainly on PC, so not using any external hardware. I do love my UAD plugins and have been using a lot of Soundtoys for years now as well.
- You launched your own imprint, Liberta Records, on 2018. In which context did you came up with this idea? As a label manager, what were the main challenges you faced from the start ?
I always wrote a lot of music but then sat on it waiting for this one label to decide my life back in 2017. I guess, opening your label is a natural path for any music producer to minimize being frustrated with sending demos, waiting to be offered a release, waiting months, sometimes years to have that one release that sometimes might not even happen. Having your label is an excellent way to showcase some of your favourite music and producers that you believe in their sound as well. I’ve learnt much about how having a record label works. The costs and effort that go into it.
You also appreciate more when you work with some labels and/or stop working with others. The main challenge to me, as a label or even as a producer, is always to get your music/release heard and supported. There is so much going on and out these days, it’s hard to cut through all the noise. PR companies charging ridiculous amounts from independent labels don’t help either. I believe that as a label, you must try to get the best exposure for the artists releasing music on your label but it can be an expensive game. Luckily we still have people who help smaller labels with premiere on their channels, reviews etc.
- How would you describe the artistic line of Liberta and what makes it different from your outputs on other labels?Last summer, you had three gigs in the US, but it seems like it wasn’t your first time there. How was your first experience?
I wouldn’t say my sound changes much these days on other labels and that is the beauty of it. The music that I release on Liberta not only showcases my sound but also somehow, works as a business card to other labels that believe my sound also represents and aligns with their vision of techno. Also, when looking for other artists, I always look for a good groove first when listening to demos sent to Liberta. I do not have a massive release schedule, I put music out that I like and play at parties. I enjoy maintaining a good relationship with Liberta artists, and I believe that I’ve met most of them in person.That’s right, I played in New York, Phoenix, and LA. I can only say great things about the scene over there. Even though it’s a “relatively” young scene, the vibe and the production quality of the parties are incredible. I honestly can’t wait to go back.
- Let’s talk about the Techno scene in Brazil. You are from Rio de Janeiro and you are based in London (UK). What would be according to you the most influential artists that has shaped the Brazilian techno scene? Do you feel the scene there has developed a specific sound so far? (1/2)You’re behind Order & Devotion, a techno label. Can you tell us a bit more about that project—how and when it started?
Unfortunately, there is not a single club alive that I’ve been to or knew of in Rio de Janeiro. Sadly, you won’t find a party playing techno in my hometown either due to the costs to have one or maybe due to the lack of vision and investment in the state’s nightlife. However, other parts of the country are thriving. In March I went to Brazil for 2 events, Hail The Light in Sao Paulo and Shadow in Goiania – fantastic parties and crowds.
The sound of techno in Brazil is up to speed at those places, so many great producers coming from there who are representing the country at its best. I guess, because of our Latin culture, as a sound, the groove comes first on Brazilian techno producers. I grew up going out and raving while listening to DJ Edinei from A Loca Club, Snoop, Pet Duo, and Wehbba. Camilla aka The Lady Machine, Mauricio Lopes, and Ricardinho NS back at Bunker94 when Rio de Janeiro had clubs, to name a few.
- Do you have a precise moment in your career that you’ll never forget, or that was a key moment for you ?
A key moment was when I left everything behind in Brazil back in 2006 and moved to Europe to try my luck with music. It truly opened my eyes and gave me a ton of hope for my future career as a music producer and DJ. I was mostly producing and playing drum and bass under my other alias BTK, until my best mate and music partner Optiv passed in 2020. I’ve learned so much about music production from him. Since he’s been gone, I’ve been dedicating 100% of my time and love to techno. I hope I’m making him proud.
- As a DJ, you must come across loads of promos. What do you think about the current production in the techno circuits? Is there enough sense of creativity or innovation according to you ?
Always, when I get promos from people like Temudo, Quelza, Norbak and Marcal, I feel that I need to go back to the techno production school. They have a fantastic sound design, that’s what keeps the genre fresh and interesting to me.
- What would be your advice to a young artist that is emerging on this scene ? Be focused on what is being released and go with the flow or always keep in mind what was done before ?
Write the music that you enjoy doing. Patience is key, if music is what you wanna do, study more, and focus on your sound. Music goes in circles, what is hype today, won’t be again in a couple of years and probably will be back again but please, don’t let it be minimal techno 🙂
- How did you record the podcast for Paradox ? Can you pick a record from the mix and tell us why you like it or how you found it ?
t was recorded with 2 CDJs and a one DJM mixer. I’ve picked the latest tracks I enjoy playing out the most and recorded the set with a flow that would make sense to me and hope for you guys too. My pick is the last track called ‘Play on Me’, a collaboration with my good friend R.M.K. I’ve been a long-time fan of his productions and writing music together with him is a joy. It is the track I like to play to give the crowd a long breakdown and it works from coming a darker vibe or into one.
We’ve written so many tracks but this one has got to be my favorite at the moment.
- We usually hear electronic producers and DJs saying they want to take us into a trip. So, what kind of trip do you want to take us in ?
It is a journey through the tribal and hypnotic sounds I enjoy playing and listening to when I am out raving myself.
- What can we expect from you and Liberta Records in the near future?
My track ‘Three Hearts’ has just been released on Cleric’s Clergy’s 10 year anniversary V/A. On the upcoming side, I have an EP coming up this summer on Setaoc Mass’ SK_Eleven entitled ‘Stark Reality’.
Liberta release schedule is really busy with fantastic releases from Deepchild, Jack Fresia, Joshua Calleja, Yuuta and Gridlock to name a few.
Thanks a lot Vinicius, we hope to see you very soon somewhere, keep the good vibe on!
Love and respect