Tribe Cast Episode 009 | E-Clip - Tribe.Cast.Podcast

E-Clip's Journey: From Europe to Thailand Welcome to Tribe Cast, a podcast by the tribe for the Tribe by Nextwave Media. Speaker 2 Hello and welcome to another episode of Tribe Cast, a podcast by the tribe for the Tribe. Today we're being hosted in the beautiful Thailand on Solar Luna Festival and on the same page we're hosting a really interesting persona and one of my favorite artists and musicians. Please welcome Marco Eclipse. Speaker 1 Thank you bro. Speaker 2 So good to have you here. How are you? Speaker 1 I'm good, yeah. I'm a bit tired from the trip here, but yeah, escaped from the winter in Europe now. Few sunny days ahead of us so I can't complain. Speaker 2 Yeah, Thailand is truly a magical place. I've been here like 15 years ago and now I came back to the Sola Luna Festival and like traveling all around, man. It's like, it's like a holiday when the whole of the world is under the, the, the winter umbrella. Speaker 1 Yeah, Yeah, yeah, it's very specific weather now. I'm, I'm, I'm traveling like I've been coming here for quite a long time. And like before COVID, it was almost every year. And then after COVID we also we came like now with the family. Last year was all three of us. This year, unfortunately only myself, because last year we found it very, very hard to travel here with the kid. And this is my first time actually to be travelling all this way by myself and actually felt the challenge. And it's very, very tough. You know, like all the international flights, Bangkok to Suratani to here. So yeah, it's it's. Speaker 2 To do it with the family, it sounds like a whole operation. Speaker 1 It is, but still at least you have a company now. It's like easier from that perspective. But also traveling by yourself it's it's not as fun. So I prefer more with the family to be honest. From Performer to Teacher: Finding a Higher Purpose How? How do you manage to be an international artist and also a family? Speaker 1 Yeah, I must say that I'm a bit lucky. My wife is taking like mostly the family stuff about the daughter. She's very committed to her and I'm taking care of the work and other stuff. So it's kind of we have separated. So it's not that we are both playing the same games in the same time, which would be very challenging. Speaker 2 You're working like a team. Speaker 1 Yeah, yeah, yeah. So something like that. So I'm taking care of one part of the all the obligations and she's doing the another. So it's kind of easy for, I mean, it's not easy. It's nothing is easy these days. But yeah, so but it's kind of good, good split to say so. Yeah. I mean, also like I'm doing another stuff, another things now. So I'm not showing as much as I used to. I'm not even sure that I would like to. But yeah, I'm doing mostly now like the courses on my education. Speaker 2 Yeah. Tell us a little bit about this. Speaker 1 Yeah, I'm running a YouTube channel where I just started. I started even before COVID and I really liked it in in a, in a certain form. And also there was a period when I was like, because I, I, I didn't start making music just for fun. I'm a little bit obsessive person. So yeah, when I when I touch something, I really want to get to the course. So I really was like pushing a lot. Like I, my approach was also, I would say like scientifical, you know, like every time, you know, you put certain plug in or something. That was more than enough for most of my friends, you know, like, just to like get the results. That was the end of their goal. But for me, curiosity was always pushing me like to go a little bit, few steps further to understand what actually happens. And yeah, I ended up on at the end after 20 years of I would say understanding the sound as it's pure nature and like everything about it, understand what's going on, what's happening with like what each plug in is doing and whatsoever. So I came to give a lot, you know, and then like only few gigs and then you end up, you know, like playing in front of people, which is a good thing. But at a certain age, you know, like I'm, I'm like, I was like that. I had the impression when I play my music that people actually do not know how much I know about it and how much effort I put it in it in it. And then the marketing perspective also is like that. I never, I just couldn't, you know, like enjoying like promoting myself in that way that is required for to become a big artist like to you need to fake it a little bit. You need to act as a superstar whatsoever, which is not my goal, nor did they feel that way. So for me, it was very hard when the Instagram and everything started to to rise when it was like a very, very important to do all the promotion and everything, because I just felt I had a problems like to record even one confirmation video for over a long time. Like I just didn't feel it. And then I was thinking like, what can I do to promote myself as as a person that I really AM? And that was one of the one of the things is like, maybe I can show what what they know to do. Maybe I can show how do I make music. Maybe I can show such a thing. And also I had a few, I had actually one very bad gig in Austria, you know, where it was like empty club and some young kids, you know, And it really was like a arrow in my heart, you know, like it felt very, very bad. So it was like a trigger of some anxiety. So I felt very, very bad, like years after that. Speaker 2 When did it happen? Speaker 1 I, I when I was 33 years old, now I'm 39, so like 6 years ago. So that was that moment when I kind of felt that I gave a lot of effort. Like I put it so much time in learning and the commitment and working hours and hours skipping so many things, you know, like that usually people do for fun, you know, like sacrificing all of time just to get to know and understand music better and to be as best the artist or musician or Audigeni or whatever producer. And then I just felt it's unfair, you know, like that I end up in like playing in a empty club for some, you know, like if I were investing this much time in, in let's say, real estate, real estate or whatever, or being a doctor, like I would do or change some things in the world. So I felt like, OK, I know how frustrating is when you cannot get the results of making music. So I was like, maybe if I start teaching younger people and if I try to make their journey easier, I would be doing something good for the society. So it gave me like a higher purpose meaning. So for me, like, OK, now I can work with this. Like if I were only playing music on the parties where people just come to have fun. Like it's nothing, it's not much important, but if you're helping others, then it gives me it gave me a power to continue doing it. Then kind of justifying that what I invested like, OK, now finally it has sense, you know, otherwise it was like in certain moments could be felt as as a waste of time, just having fun, making easy. The Unseen Depth: When Complex Music Meets Simple Tastes I completely understand it. It's like another level, another level to your experience here. Exactly. You know, I wanted to tell you like before we started the shooting, I told you that I wanted to tell you something. And it's really interesting that you're mentioning the situation because I don't think you remember, but it was, I don't know, maybe 8-9 years ago, I was in a party and with a couple of my friends and you were playing there and there were two stages and you were playing indoor and there was a outdoor stage. And me and my friends came like specifically to listen to you. Like you have this track with the symbolic live. Your right man, crazy, right? So anyway, so we came to this party and you were playing there and then there was some really big mainstream artist that was playing on the other stage and like the whole room was completely empty. Like just, I think maybe five of us and that's it. And after the gig, I came to you and I and I asked you tell me honestly, like what do you feel about this? Because I felt so bad. I'm not even the DJ and I'm not even playing. And I felt so bad, like feeling that this, this crazy, crazy, crazy said is being played. And most of the people went to listen to this and you told me this is a part of the of the game. Sometimes you have this and sometimes you have this. Speaker 1 Yeah. Speaker 2 I don't I remember this but it was it. Speaker 1 Was in Israel, yeah. Speaker 2 It was, yeah, yeah, yeah. It was in Unity Party. Speaker 1 Unity. Yes. Yes. Unity. Yeah. Yeah, I remember it. Yeah, exactly. Yeah. Speaker 2 You remember? Yeah, I remember really. That was a really good set, really good set. And I was, I felt really bad. It was a really interesting situation because the music is being played, then we're like high on S and then everybody like Wow and you're playing the best tracks you know and and you feel this something. Speaker 1 There there's something about, you know, like the like the music, it's very complicated. Like I'm just going through learning that right now because as I mentioned, doing education whatsoever. So I'm kind of, I went very deep now inside all that stuff about what actually supposed to what everyone should do with the music. So what, what is the goal? And I realized, I mean, I realized I'm just learning that, you know, like the, I thought that if I give more effort, if I push more, that the things will be better in music. It's it doesn't work like that. So I kind of I went to very deep into it and I'm a person who values like the depth intelligence and the higher meanings of spirituality. So all these things are very complicated. I have specifically in the in the music in the music industry, because people do not go on the parties to have any type of the lectures. They actually do for for the opposite stuff. They just want to have fun. So it actually supposed to be very simple if your goal is to get the big, you know, like success. So for me, I wanted like a big success, but I still want to keep my music as it is a bit more complicated. Because there was a moment actually in Azora where there was a track Salvador, which I was like I was working on it for like 3 years. I decided like to do in that period like a test, like OK, I'm going to work on other tracks, releases as I do, but I'm going to take one and I'm just going to like go crazy about it, like just one open it and working on it every week. And I'm going to just not rush to release. I'm just going to keep it like if it needs forever. Even though it was like the very successful track. But when I started playing it, I realized, like all the complicated things, all this crazy things about the arrangement and sound design that they're going backwards and all this madness that is actually going around, all that track that people do not even hear it. I was very disappointed. Speaker 2 You think that people don't pay attention to this? Speaker 1 I would tell you that maybe 5% of people. Speaker 2 Really. Speaker 1 Yes, so the people and I believe that you are one of these if you like my music, because my music has have that a little bit. I don't know, I don't want to sound cocky or something. I don't even I don't even think it's a good thing. But like intelligence into the music like it's. Speaker 2 Not. Don't be shy, man. Don't be shy. It's not. Speaker 1 Something that's kind of welcomed, you know? Speaker 2 Yes it is. Don't be shy about your truth. Always tell the truth. Speaker 1 Yeah, yeah, yeah. I mean, this is how I feel it. I'm just being careful of like, expressing certain things. So yeah. So yeah, I mean, the things should be super simple. And there were tracks which I did like because of the deal that I got like such an amount of money for the release and the tracks that I did in like 2 days that I never played in my life. And I still had people like talking about that, these type of the tracks that I've just like did you know which I never played. And there's no depth whatsoever, but people just love them. And I was always like confused like well. Speaker 2 Why? Speaker 1 Yeah, like all of my tracks that they put in so much effort, like in all of this stuff, all this manner that is going on so much like sound design and layers and whatsoever. It's very rich. I would say with the sounds, it's, it's not like dry, it's very like full of the sounds, atmospheric sounds and many modulations and effect melodies and whatever. But people somehow like some, some things that are very simple. And this is the reality. This is the reality. E-Clip's New Sound: Navigating Psytrance Evolution But for me, I think that I went like, once you get into that room, like for me to, it's very hard like to, to go backwards. And this is something I will try now with the Sytech because I'm like producing many different types of the music for a very long time. But as I already said, because of the all this business side of the event, like running Instagram, SoundCloud, big ports and whatsoever, I never had balls to like start a new project and to release it. And I did want to like release it as a Nikki, but many people told me like now this is this is a wrong thing to do. And now I actually decided to start releasing Scitec also as a Yeah, but it's going to be. Speaker 2 Eclipse. So how do you combine like your old style, you know? Speaker 1 You're going to hear it today like because yeah today where we're recording, I'm playing like it's 31st amazing man. So I'm I'm going to start actually first time like I'm. Speaker 2 Going to start. Speaker 1 With the with the Sytech, because before me it's opening ceremony. So I'm using that opportunity like that's playing before me, like I can do whatever I want. And I had the same opportunity on Free Earth last year and it was amazing. So I've had like 3 hour slot and after me, the day after me, it's a brain cell. So I can go very fast and I can start as as much like however I want. So I'm going to combine like Citetech with a bit like this deep progressive, like more square baseline and then move to a little bit more proggy stuff. And then most likely I'm going to end up on audit of the full on. And yeah. Speaker 2 So you're you're playing since 2002 three right, something like this producing you're producing new. Speaker 1 Produce My First Track was released in 2006. Speaker 2 Six, yeah. So as from what I hear from you, this is like the the new evolution of Eclipse. This is what we should expect next. There's the more Xenon tech sound. Speaker 1 No, it's my my style is more like a peak driving techno groove combined with the not that much psychedelic sound as people believe, like tweaking. It's more like atmospheric stuff on top of it. Yeah, more argetic. But the groove is going to be also like a rolling, which which I love a lot, but more like a but the techno elements like yeah, I'm going to play like 2 of new tracks today as well. And for some reason this Scitec now for me, it's like one or two days and Trek is done. Cytrus is like months. Yeah. Now there's something weird with with the Cytrus, you know, like the like honestly. But the production and quality of Cytrus production went enormously high and it's very high to reach it. So it's very tough. And everything is going into the more more of that technical zone like about the the sound quality and not that much about the creativity, which is a little bit sad thing, but I believe it's only the period. So yeah. Speaker 2 There's a lot of new music coming on now, like a lot of new artists that are showing up. So I think it's for me, it's really positive that there's fresh music coming. There was a period now for like, I don't know, five years from my experience, yeah, that all of the genres suddenly became somehow citrons, like, very specifically citrons. And now, like, it's getting a little bit boring. Everybody are copying each other, you know. Speaker 1 Yeah, yeah, yeah. That's actually the last five videos of my YouTube channel were exactly about it. And it's it's kind of like blew up a lot of steam there. Speaker 2 So yeah, a lot. Speaker 1 Of steam here A lot of people were just like overreacting about it and yeah, I think I I started a topic that's not that, you know, like easy to to talk about and not many agree and but definitely, you know, like progressive used to be progressive. Let's say progressive side transit was like 134 one 35136 and then during the daytime on Azura on boom fest or whatever, you had this like 135 ish 138 maximum during the day and then during the night and let's say mornings you had a full on where it was like 145 night one for so we had like a this is only BPM, but also like it's not only about the speed of a track, because if you do the same groove on 142 and on 135I guarantee that every producer will have a different choices about what he would do next in 135 than in faster tracks. So just a shift or the the BPM range is actually very important for what is going to come out from any producer. And that hypnotic moment of progressive side trans have disappeared because the progressive like kind of speed it up. And I would say that progressive what is taken as a progressive and full on they almost emerged now. And yeah, so there there there's a very big part of dead zone that is missing. But luckily we have this, what they call deep progressive, like kept the hook that killed more fighters that it's a little bit different. Still, you can see them playing not mostly on the main stages, which I honestly believe is something that must be changed. And I like because if you know, like freedom fighters and deck kill models, this type of the style, I think it's the only replacement for that type of the music. The Financial Reality: Sustaining a Creative Career in Music But even them. Speaker 2 You think this is the new? You think this is the new? Speaker 1 I think it's there already. I think the new is going to be different. I think that it's called kind of square base even though if I but this is something how people try to explain it. Speaker 2 It's so new that we don't even have definition for it. Speaker 1 Yeah, these would have so many artists, like doing the same stuff like I'm releasing now on my label. Like few of them also like Radack. And you know, like when we had this competition for for Pyramid Festival where we'd like just like got like submissions for talents. Like there's so many Israeli artists that are doing this very, very good. Like completely unknown artists, but you know, it's very popular in Israel, so only there you have so many producers of this type of the music. So I don't think it's new. It's already, I think created a whole new generations of or generation of producers of specifically this type of the music. Speaker 2 Do you feel that this new wave of new music genres, let's call it this way, is something that is following the guidelines of the culture? Does it stand for the values it's just or you think it's more commercial? Speaker 1 I don't think it's more commercial. I mean there, there was always a part of the citrus that that is more commercial. But when it when it is more commercial, it's it's pretty obvious, you know, like I wouldn't say, I would say it's not that aggressive, It's not that intense and it's not that is just this or that. But when people get specifically like night time music, like I never was a fan of, let's say dark side whatsoever, even though I went fully deep into the analyzing it because I needed it for for for my OCD. But still, you know, like too fast music for me. I don't know, it can be good, but only for a limited amount of hours. This is my personal taste. This that doesn't have anything to do with the overall opinion, but we definitely could see that last, I would say even maybe 10 years, the rise of that night time music is being played on main main state mainstream festivals like, you know, during the daytime. And for me it's it's too much, you know, like, because I realized that it's all about this sine waves, which how I like to call them. Yeah. Anyway, so somewhere it's very specific type of dear energy. But also like if you have a very fast music during the night, like then I believe it's very important to go down during the daytime. And it's just creating the contrast, you know, like, and people have a journey that is rising up, it's moving and everything that you keep constant, constant, you know, like in a same, in a flat line or with the smaller variations. People like we as humans, we get, we, we get used to the things very fast to something that's good. We get, we adjust very fast to it. It becomes boring. If you have some very big problem, I think if they put you in a jail, you know, like the first month, you're going to be panicking. After that, you're going to adjust to that. So we are kind of very, we have this ability to adjust to situations very fast. So I think that it's very important for us humans to have this variations and it's sad that, you know, like you can see that the festivals are mostly following the trends and going. Speaker 2 Well, you can understand them. You know, the competition is getting really hard these days, at least every year. Speaker 1 I'm not judging them like, again, like all this, what I'm talking about, we already started with the, I don't have the rights to say maybe that person is OK with it. But it is with one of the, I would say creators of the citrus scene, like somebody that's on a very high level that is doing like one of the biggest events in the world. So it's all about this. The whole topic was about the sustainability and what we can do about to maintain and to keep the citrus going. They expressed how to say concerns that they are not able to reach the new artists even though they do exist, and that many of such as artists, like 10 to 15% are quitting every year now because there's not enough work during the winter. So if you don't play Brazil, if you don't play it in Asia, in Europe, there's almost no gigs at all. So the clubs are closing. The they just after COVID, like many things went very different. They were to get the permission for the parties went to in European. Yeah. So it's everything is way more complicated and also the rise of the price for everything. So a lot of people are quitting from promoter world as well, which is kind of very problematic as we are losing very good artists every single year because they cannot maintain to continue working. Speaker 2 Yeah, and to bring money to the table by the end of the day. Speaker 1 Yeah, like, you know, like even if at the end, you know, like it's, we need to survive this, you know, like and it's I, I've been in in that position. So I know it very well how much that financial world actually is influencing our creative side, because at the end, you, you need to survive. And then when you start living from the music, it's going to, you know, like when you see someone else having more gigs than you and he's playing a little bit different music, you're going to ask yourself, like, could they maybe make something like this? You know, like it's very hard to resist that because it's all about insecurity and trying to provide for for future. And like, let's the best musicians of the world were always the kids of rich people, which actually gave them a freedom to do whatever they want. They needed to make any type of the compromises whatsoever. So they actually could make a revolution just by following their ideas, you know, like without being influenced with that financial world, which was for me very, very hard, you know, specifically coming from Serbia and yeah, all this period. So every my childhood where, you know, like financially was very tough. So all of that era has a very big scars. Speaker 2 But then the success is very sweet. It is, but success has a special. Speaker 1 Fear of losing that it's even even worse, you know, like, because I mean, my biggest fear is to stay without the money, you know, like, because I know how it is when you, when you really don't have anything, you know, and during the 90s and everything when like there was no milk or whatsoever. So growing up in that environment, you know, like it's, it's not possible to stay without any. Speaker 2 You don't have the the possibility the option to to invest in this type of work. You need to go to work. Speaker 1 Exactly. Exactly. So yeah. So This is why I'm like doing all these things about education whatsoever, because I'm trying to like release my creative work from any type of the pressure from that perspective, because I'm not playing that game of chasing the, the gigs anymore. Because it, it's a kind of rule, you know, like that you need to release a track every two months, blah, blah, blah, to keep active whatsoever, to send the emails to promoters, blah, blah, blah. Which if you do, which I did for many years, can make you very tired, you know, like, because it feels like you are on the job, you know, like, and sometimes there are periods when you are just not able to be creative, you know, like, and sometimes you need to how to say like, go back into your shell, you know, like to, to like. Speaker 2 Restart the process. Speaker 1 Yes, restart the process, find something new, get the inspiration and you know, like sometimes there's a bad period of the life, you know, when you're just emotions are not on the right place. And if you're playing this game, then you're forcing yourself. The Superstar Mask: Navigating Authenticity in the Music Industry And this, this is I'm talking from a personal, how it's called DID. Yeah, Anyway, so this is what have, this is what happened to me during the COVID, you know, because before that. Speaker 2 How was it for you? Actually, you know, that was the hardest billion for our mission. Speaker 1 To be honest, like I, I, I financially, I got, I made more money during the COVID than before that. Yeah, yeah, but it's not absurd. It's just like, you know, I was my type of personality playing the wrong game, you know, like being a superstar chasing geeks, you know, whatsoever I I cannot do it, you know, like for me, it's being in front of the Instagram all day and trying to behave as something that I really know that I'm not like superstar. And this this is the the only thing that you need to do actually is I saw it many times, you know, like from my colleagues that are actually convincing people through the Instagram, I think that they are superstars. And at the end it works. And at the beginning everyone were like, oh, come on, man. Like what do these guys doing? What's their After a year or two, it actually works, you know so but take. Speaker 2 It till you make it. Speaker 1 It's not fake, it it's just like, you know, like he also like whatever you want to do, you need to like behave as as you already did. Yeah. Speaker 2 Put the mask. Yeah, the special mask. Speaker 1 Yeah, or actually believing in, in, in yourself. And someone said, like, if you want to become this, this is the sentence from the guy who actually started the exit festival. Even if you're watching. Hello. Speaker 2 Shut up, even. Speaker 1 So he told him, like, if you want to become a superstar, Marco, like, you need to start your day by lying to yourself into the mirror. This is the first thing you need to do. And then it's like, if you want to do this every morning like you did, but I don't think you're going to do it, you know, like, and it's it's it's really have sense, you know, like, because it's all about like, how do you, you know, convince people? How do you act? And Mink Jagger said like that it's very sad that people are getting more connected to the personality of the person who made music than the music itself. And he said it because he realized about himself. And it's, it's, it's true, you know, like, which is very good in this moment when there we have a rise of the AI and it, everyone is afraid, you know, like, but you know, like, if you still create like this, how to say image of yourself, like, then it's not going to be that much important. How? How music itself? The music itself is not. Speaker 2 Only you think that. You think that today not know all of the all the cases, but today if you're like a new artist and you wanna like explode and like to get and reach somewhere, you first need to wake up in the morning light to the mirror and like to really believe in this really believe in this in this dream that you you want to achieve. If you if you don't go and you don't like really go into social media and post and like do stuff you, you think it's, it's hard to. Speaker 1 It really depends from how your personalities, you know, like because you can, we can all see that all this egoistic personalities are leading the game, you know, like, and this is this is exactly what what I'm referring to. So there are people that are just, you know, like not being as as you just, you know, said like don't be shy, You know, like for everything I'm trying to everything good that I want to try about myself. I'm very careful about it. And this is kind of opposite of what should I be doing? You know, if I wanted to make this game for to working for me, I would sit in now with you and say I'm the best. Well, trust me, I'm the best. You know, I'm making this 25 years. I played Boom five times, Zora five times, you know, like this is the ACT. It's not the acting. This is the behaviour that actually would actually make me to to get more gigs and whatsoever. I would get more. I would say I don't know the English word forgot about like people would be talking more about it. Let's look look at this guy. You know what he's talking, you know, like, but it's kind of it, it would help it to raise the popularity. You know, like, even if it's a bad thing, you know, like it for some reason it does work. It's, you know, one of these marketing tricks, Psychology. Speaker 2 There's none such thing as bad bad. Speaker 1 Publicity, publicity. Yeah, yeah, yeah. So it's about publicity. This is the world I was looking for. But also for some reason it does create that effect, even though if, I mean, sadly, I don't want to mention any names now, you know, like, because not to put in a bad context, even though this is not my intention, but it's just, this is the type of personality you need to, you know, to, to create publicity or popularity. So if you're born, for example, SCSI for me, it's like he, he's born, he's born like this, you know, like I, I met him 2001 in Serbia on after party. He was that guy, you know, like rock superstar. And it's not, it's not acting. It's he, he was just there, you know, like he did some crazy stuff I don't want to talk publicly about, but you can see it's mentality of the rock superstar, you know, like really dead, you know, like, and also he was playing and the, the security was trying to shut off the party. You know, he was like pushing them, like he didn't want to stop. You know, there were stories like, yeah, he did it by purpose or whatsoever. It doesn't matter. You know, like it's something. Speaker 2 This is who he is. Speaker 1 24 years after that I'm talking about that you know like so it's something that's that's leaving the trace on the on it. They also could see I can see him because I follow him on the Instagram whatsoever. I can see the stories like he's this. Still the same. Still the same, right. Still the same. Yeah, two kids, still the same. Still the same. Yeah, but it's crazy. Like first time in Israel, I'm entering the club and not not when I when I played, it was just like when I first guy I met was was cousin. Yeah. Speaker 2 This is a really interesting person to meet as a first person. Speaker 1 Yeah, I mean, we hanged out, Yeah, we hanged out for like a couple of times after that. So definitely. But this is the the reality, you know, like it doesn't matter how your music is, if you know how to carry it, if you know how to present it, if you entertain people, you know, like at the end, this is a show business, you know, like we can talk about that from other perspective. No, it's a type of art whatsoever. Maybe it is for people who is creating it as it is for myself, but from the other side, the the use of that art or whatever it is, it's for people to have fun. So at the end. Beyond the Music: Humorous Moments from the Dance Floor So you're saying like we're missing the the deep meaning connection somewhere in the process? Speaker 1 I think so. I think from my perspective and my experience, like I think I took it too seriously. I took the kind of wrong thing to take too serious, you know, like to OK, I learned everything like I could now be the engineer or sound designer and I could do different projects now that actually can be used in a scientific world. But it's not Cyprus Party, definitely as people come there to dance and to go crazy, you know, like nobody's coming there to to listen to something that's going to require a certain type of concentration and attention or whatsoever. Like people just want to enjoy, you know, like they've been working for the whole year to go to a festival. They want to release all of that stuff, you know, and they want to have fun. So if you perform and help them, you know, like to to to release that stuff, you know, like you of course you want to have success. Speaker 2 You know, on our first episode, we did the episode with Pantomiman and. Speaker 1 He's amazing showman. Speaker 2 Exactly. So this is really, this is what you're saying, because I think the whole concept of pantomiman is just to make fun and make people have fun and not going deep into the he. He actually did like a really interesting speech about this in the episode, that he doesn't want people to go like into deep meaningful consciousness experience, like just want to have fun, you know, stuff like this. Speaker 1 It's good, you know, like just for him, I saw him few times. He was very desired, you know, he was going that zone and people are like expecting that from him now. So it's going to be very hard to maintain, you know? Speaker 2 You have to keep it. Speaker 1 After this, you know, I don't know if you saw all this live stream that he was doing like. Speaker 2 Of course, man. Of course, man, of course, of course. Speaker 1 That it takes people to, you know, like putting the eggs on the head. Speaker 2 Dude, he did on on on the I think it was some some Nova God in Russia like Christmas. He was he did like a set with like he did a traditional Russian dish while he was mixing the set. And he has like this really old school House of his parents and his like father is coming and dancing there and all insane. So yeah, I think that it's it's very good that we have a human excited. Yeah, yeah, yeah. So it's it's really good to hear that we have all sort of people in our industry that are delivering different type of it. Speaker 1 Is it is? Yeah, just, yeah, I think the performance is something that that's kind of missing, specifically if you compare it now with the with the techno scene. I mean, it's I it's not a in a bad manner to say about all this stuff, but you can see that all these girls, you know, like that they're playing that all the moves are already, you know, the most likely they they practice that in front of the mirror, you know, like there are certain types and then they copy each other. They have the same moves whatsoever. But still, when you look at it like this is now me, you know, like this deeper searching crazy guy, you know that See all the back page. Speaker 2 From the back page but. Speaker 1 When I just shut it off, you know, that my critical thinking when I see it, like it looks awesome, you know, I'm like, come on, man. You know, like I'm going crazy on the stage, like sweating and drinking, you know, like I'm definitely doesn't look that good and all. Speaker 2 Like not even girls. Speaker 1 When they have like all fancy, you know, haircuts and like, dancing perfectly so. Speaker 2 You can see that it's show business. Speaker 1 Show business, it is show business at the end, it is show business like if you want to have more gigs, you need to start selling tickets. Like this is the rule #1 if you want to be booked again and again, like you cannot expect for people to understand the complicity of your music because we are definitely not making music that are listening doctors or whatsoever. Like if you want. Speaker 2 To no, no, wait, wait. I know a couple of doctors me. Speaker 1 Too as well. Yeah, I mean just like comparing it to let's say classical music, you know, where you have a different category of people listening to that more intelligent group of people like, you know, successful and whatsoever now in a form of educated and whatsoever. It's another time saying that people from citrus are not just like the use of it and the main essence and the main how to say the main use of it. It's it's a different. I see it as releasing the energy. I see it as going crazy. And one of the biggest things about the citrus vessels and my how to say one of the things that I'm really that I was very impressed by is that literally the time stops. It doesn't matter. Is it the day? Is it the night? You know? And a few moments I've been pretty fucked on the dance floor. Like I always hated that moment when the when the day comes. Speaker 2 Come on. Yeah. Speaker 1 No, no, I hated it like when I was kid, you know, because I was getting Belgrade and then parties and then from the parties you need to take a public transportation back home and everybody see how you look, you. Speaker 2 Know man, you get oh man, don't remind me this man don't remind me. Speaker 1 This but on the festival, you know, like the sun goes and I'm like already shot and then you look around and you're like man, relax here, here you can relax completely do. Speaker 2 Whatever. Speaker 1 You want like you are. You are the best looking 1 here. Speaker 2 You're that the top knife? Yeah. Speaker 1 Yeah, honestly, I was like, OK, like, you know, like I don't need to watch, you know, I don't need anything, you know, So it's very, I don't know, like releasing. Speaker 2 Can you can Do you remember some funny moment you had on the on the dance floor as a party goer? Something like really funny. Speaker 1 Yeah, I mean, I could definitely write a book about that stuff. Speaker 2 I'll buy it. Speaker 1 Yeah, I mean, I have so many stories, especially like about the the our dear friends or colleagues. Like I think I can write a book about Atmos only, you know, it's one of the but honestly, it's one of the the the best characters I've met in my life. Like super intelligent, but still like, I don't know, like the almost like a kid, intelligent kid in in locked up in a grown man's body. Yeah, but it's like, yes. Speaker 2 Yeah, Thomas is there. Thomas. Speaker 1 Is another from another level. Speaker 2 So tell me some story with that. And now you have to come on. Come on. Speaker 1 Yeah, it doesn't. Yeah, I, I cannot, you know, like. Speaker 2 Come on. OK, No, Thomas. Someone there? Someone there. Let's call him Jack. Speaker 1 Yeah, there was, there was many stories, but I, I don't think that any of the stories that I would speak about are actually for, for, for public impression. Well, yeah. Like one of the things, let's say from my DJ career that when I had five gigs in two days in Brazil, this was something that. Wow. Yeah. So this was something that I will definitely never forget because it was very, very, very tough landed and just like going like playing and soon as I finished going into the car, driving to the other and to the other like not even having time to have a drink or nothing. I didn't sleep for three nights without any substances like 0 just being on the road. And I remember coming here, I had a sleepover next to Gorillas airport in Sao Paulo. And I remember coming and there's like a three buses of people. There were like a queue of like 1/2 kilometer of people standing into the queue to go into the same hotel. And I'm like looking and what the what the fuck is going on? I'm looking at myself like I'm dirty, you know, like and this. Speaker 2 After all they you went through, Yeah. Speaker 1 I'm like hallucinating. I'm like, what's going on, you know. But yeah, luckily I had enough of the brain capacity to just go, you know, to pass the whole queue and to say like, or give me the key for the, for the room or I'm or give me the money back. I'm going to another hotel. I was like, are you with the group? And I'm like, what group? Like this is like the company, big company, you know, like I'm not with a group like, no, no, it's not a problem. You know, like, and I got the key. So like, yeah, yeah, yeah. Because I was almost that guy to, to stand in the end of the queue, you know, like, and luckily I was just like, no, there is no freaking way. But yeah. E-Clip's Outlook: Education, Sytech, and the Future of Psytrance But there was many, many stories, man. Speaker 2 What? What should we expect from Eclipse on 2026? Speaker 1 Yeah, like I'm fighting to continue with the label because like for now, like it's very challenging even though there's a lot of work with it. And still it's very hard to create a good attraction. Like with everything today, as you know, we are just generating as of humanity too much of the content. But my plans are to like to continue with the educational stuff. There are also certain developments with the Boom school, the courses that we. Speaker 2 Do yeah. Tell us about it also. Speaker 1 Yeah, the so we are organizing courses at the Boomland that are like 7 days long. It's a music production course and the experience of that course is really, really, really something honestly from my heart. It's not like we are. I did many live courses like this, but this and boom and this something that's like completely from another level, like being on the boom and when there's nobody there, you know, having that ability like seeing like meeting the people that are organizing boom as well, like they to be host by them to see the production village, like the the hidden game of the whole boom vessel, like in a small village building the phone for a production area. Speaker 2 It's also on vacation. Speaker 1 It's it's it's experience of I cannot explain to you like I remember first time we did it like people are coming, OK, we meet whatsoever. We had a lesson and then we have a lunch and then soon as the lunch like they were like rushing to eat and they just like just spread to the whole boom and without any of the stages and not so many people. So like you have a boom and for yourself to enjoy all the beauty, you know, like, and it looks completely different when it's like super crowded without the, you know, like borders, like all the roads are open. There's not much of the, you know, like things around, but it's it's very, very nice experience. There's also a possibility that we're going to extend it to a online school as well. Whatever. So. Speaker 2 We're I think it's a good idea. So good idea. Speaker 1 Yeah, we still talk about. Speaker 2 It there's nothing like this yet, right? Yeah, nothing serious. Speaker 1 There is not something, man. Yeah, it's a big. Speaker 2 Project The carpet is on. The is waiting for you. Speaker 1 Yeah, this is something I do on my website now like online. But I think that like the things behind all that like boom school and why we are taking so much into it is that the reason of doing something for sustainability of the side trends to we want to definitely try to involve like the promoters into that as well. Like to talk about it like the label managers, the book booking agency managers as well like to talk about what is needed, like to talk about the industry standards and whatsoever. Because we can definitely see that the side trends, you know, like and let's say techno, like if you compare the, I would say professionalism, even though the prices are completely different. Speaker 2 Yeah, yeah, a little bit different. Speaker 1 Yeah, but still like, you know like the how they manage all that stuff and for us like we still miss a little bit of that. But again, you know, like we are, we're growing age of the Yeah. Speaker 2 We're a couple of states, steps behind everyone, but yeah, eventually we'll get there. We see. We have a podcast. Yeah, yeah, fine. We have a podcast for our community. We're gonna have a school. Speaker 1 Yeah, yeah. But also like the good thing is that festival attendance are rising every year and the festivals are having more and more people every year. Side transfer festivals, yeah, which is a very good thing from the opposite. Speaker 2 Thank God, bring us more. Speaker 1 Yeah, the problem is that younger generation generations are not that much involved in it. But again, what I spoke previously about it that hard techno, it's very simple, you know, like I'm not saying anything bad, but it's just like analysis. It's very simple. You get to that point straight away. So it's very fast and it's very aggressive. So you have that expression like it's instantaneous, like you don't need to put any how to say attention to understanding it, like when you hear it, you know. Speaker 2 What's that about it? Speaker 1 That's it, it's dancing straight away and the culture from the opposite side is like a dark cyberpunk, you know like with the industrial. So it's very easy to digest as well. While from the other side, psychedelic scene is spiritual, it's intelligent. The festival for seven days and you need to camp, you know like because the other festivals are techno, you go to hotel and then you come back. So it's like a 5 days of night parties while Cytrus is like a full day. So it's it's not comparable in my opinion. And for someone who wants to survive Cytrus festival, he needs to be good in organizing itself, like packing, like setting up the camp, bringing everything that's needed, surviving all that heat, you know, like bringing the whatever is needed, you know, like sprinkles. And you know how people? Speaker 2 Everything you have to bring the whole house, man. Speaker 1 Yeah. So this is one of the reasons why I see that we don't have that much of the young people, which doesn't mean that when young people are gonna get a little bit older and are not going to jump into that. So. But still it's some things that should be considered like can we do something to attract a little bit more of younger generations from our parties? Because the data shows that the average is 30 plus years of the attendance of the side transfestal. So maybe it's not a bad thing, but still, you know, like it's something. Speaker 2 To you need more, more younger people to. Speaker 1 Join. I think so, yeah. Like, you know, like you. You don't see that much. Speaker 2 Of how do you think we can reach them? How do you think we can that? Speaker 1 Make it happen. This is this is the actually the question that before we started that I really want to start talking about and I'm not trying to advertise, but I had the idea of starting the podcast. My podcast would be online, you know, like where I would actually using that for educational purposes of about the things like this when I would like having similar debate or conversation with leading artists just to see how they think about it because I can have. Speaker 2 Interesting. Yeah, very interesting. Interesting. Speaker 1 I think you guys could also help with the Let's do it a bit of your podcast, just like. Speaker 2 Let's do it. Speaker 1 Asking like, how do you see, you know, like everything that we spoke about right now? Because I think one of the one of the ways is to actually start talking about it. And I'm sure that something will come from that conversations, you know, so involving more people into that conversation because when I spoke with different with different people about it, I got completely different answers. And then like when I started combining all of that, I kind of started like my own conclusion was just expanding like everything that I spoke about the difference between Heart Tecmo and Scitrans. It's not only my thoughts. This is something that when I spoke with. Speaker 2 Many different interesting Maybe some coalition. Maybe it's time to make a coalition to discuss this stuff. Speaker 1 Definitely, definitely. So there is idea about that also. I I'm not allowed to talk about it, it's going to be on a high level. Speaker 2 Based even active the fight. Speaker 1 Run. Yeah, no, no, it's just like these are the people that don't like to be mentioned. You know, like so I'm trying not to make a problems to myself. Maybe they wouldn't even mind, you know, like, but from my perspective right now, it's like, it's better if I get my mouth shut, you know, like. Speaker 2 For the right moment, yeah. Yeah, in like 5 years. Like in side transit, everything is slower. Speaker 1 No, I think it's going to happen definitely in 2026. And they're talking about my plans of 2026 and we weren't super super, but yeah. But beside that, also the Cytec project. That's definitely something that I will now Cytec is something that I find in between like something that's have that instantaneous moment because the groove is there and like for some reason the groove disappeared from from Cytrus. And I believe that one of the reasons is this technical perfection that we talked about that the Sounders that clicks are that kicks are very clean baseline need to be processed, they need to have a block effect whatsoever. So everything started to sound the same. And we are missing that a little bit of irregularities or mistakes to say that things are not exactly the grid that we that we have a little bit of dirty kicks as we used to have in the early years of Cytrus. And I did an experiment, you know, like, and I just started replacing these elements and everything started to sound good enough. But somehow it reminds me now on Sitech, you know, like, because it's, it has more of that techno group. And techno group is nothing else than just like very, very dirty sounds combined. And there's a certain I don't know what it is, you know, like I still didn't come up to that specific spice on that. But there's a something that that just makes it to work. And you can hear like as a old engineer and someone who is able to make Cypress everything tight and clean and you know, like a powerful, you hear that kick is just jumping out. Baseline is doing baseline is doing one thing kick is doing another high hit is doing like everything is just like like not, not, I don't know. But somehow they all work together into the one unified thing and create something that's way easier to attach to when you hear it then this when it's very technically perfect. Like if you clean all the frequencies that are kind of not perfect, if you make everything tight, it becomes very plain. It becomes like a computer made music. You know, like you. Speaker 2 Feel it, you feel it. Speaker 1 Yeah, it's, it's dry, even though when you hear it like it's very powerful, like all the frequencies, it's very tough. But somehow there's nothing to attach to, you know, like and, or summaries all this dirty type of the production. Like there's a bunch of things that you can attach to like heart attack and it's like distortion on the kick or whatsoever. So it's very different philosophy. It's, I would say even opposite of of the citrus, so. Speaker 2 Maybe it's some sort of synchronization between the two worlds, you know? Yeah, to add the intellectual and the dirtiest things with the more psychedelic. Speaker 1 Yes, yes. So this is what they see about the Cytec. And I honestly believe that even though my vision of the Cytec is is a little bit different, I like it more driving. And I see that specifically we started going into that zone in the last few releases. I'm talking about like what for me, one 2425 I was like, it's OK, but for me it's it's not enough. One in that rage. I like more progressive house, you know, like there's this Israeli also. Oh man, he makes amazing progressives anyway. Speaker 2 So in galore maybe? Speaker 1 No, no, no, it's the Matan Casp. Matan Casp. Yeah, amazing music. So if it's like this range, I like that more, but like for Cytec 1/31/32 1:35 it's it's it's perfect. And what they spoke about that old progressive that I used to make one 3435. I believe that Cytec is going to start to replace that type. And you can see already that Louis Sam is announced on the many, many parties as a headliner and then? Speaker 2 It's a sign. Speaker 1 Yeah, it's I believe I mean when I hear when I compare this these two musics, like for me, like I attached now way more to to the sighting, even though it's not that different in my opinion, you know, like maybe just a few things. I mean we as a sight trans heads to say like maybe for us is a big deal difference. But if you have someone else from let's say different scene, like they would definitely say like it's the same thing. So driving kick and base like, but not that clean anymore. You know, it's just, you know, like, and then straight away and then instead of that clean very high frequency high head, you have this one that are more in midst like, you know, like and then everything starts to, I don't know, for me, it's way more enjoyable. I started dancing again in the studio while making it, you know, the cycles, it's hard. It's like taka, taka, taka taka. And for me, I'm like, OK, And then I started using these samples in my progressive tracks, like cycles tracks, and it works as well. So, you know, like I'm. Speaker 2 So you found like new sounds that work better? Yeah, Yeah. Speaker 1 It's only the drum elements, because drum elements, they are like 65, seventy, 75% of our tracks. I mean, if the groove is there, like if the groove is not there, there's very small chances that people will listen to your track. Like if you want to listen to, let's say music, then you're most likely going to play chill out or something that's have that you're going to put your attention to to the melodies, to the progressions whatsoever. While if you want to, if you play Citrons or techno, then most likely you are more into the dancing mood, right? So it needs to make you it's, it needs to make you to dance. And one very important thing that I learned from, I spoke a lot with Taja, you know, like about, OK, how do you do this, blah, blah, blah, blah, blah, blah. When I was researching on all this stuff and he, his music specifically was very, very interesting to me. Like specifically, I don't don't like the that much of the night stuff. But that shift when he started like going more back into the, the full on was very, very interesting to me. And he made like a revolution inside, just like, you know, like there's a there are a few banks for virus made by Aja that were released and everybody was sharing him. Whole scene was using the same sounds, talking about 2016 seventeen, like all nano guys and everything. And actually, yeah, Gustavo burning noise. He he was just come on, bro, like take this. You know, it's all that stuff and it's like you just press 1, like the programmed, you know, reef and made by Aja. So people were using it as crazy, but I think that was very, very beneficial for for development of his name, his career as well. Speaker 2 You feel that this new genre is is the new wave that you're talking about. Speaker 1 I think this is now the past wave, but it was it was the new like 2015 sixteen when? Speaker 2 No, I'm talking about the the psychic. Speaker 1 I'm I'm 100% sure, like I'm talking about this for already a year and a half, you know, like, and now I can see it happening and actually, you know, like my wife started playing it and she's a very good friend with. It's like a sister of Fernando Pistelli. They love each other. Yeah, it's. Speaker 2 Yeah. What did the last episode we did with that? Speaker 1 Yeah, I saw, I saw. Yeah, some clips go Fernanda. Yeah. So. Yeah. So. Speaker 2 Fernanda, actually we need to wrap it up. Yeah. So you have any maybe last words for the community, for the global tribe? Something, some message to the world that is very important for you to say. Speaker 1 I would say, you know, stay strong. Crazy times, you know, maybe the weirdest time in the, you know, like we are going to the biggest industrial revolution. So I know it's not easy to for anyone, but we survived everything. So we want to survive this. So yeah, just spread love and unity and keep focus on the positive things and everything will be fine. Speaker 2 Yeah, man. Amen to that. Thank you very much for your time. Speaker 1 More than welcome. Speaker 2 Brother and thank you guys for showing out for another episode of Tribe Cast. It was a pleasure hosting you and we're going to see you in the next episodes. Don't forget to follow our channels on our platforms. We're waiting for you and see you soon. Speaker 1 Tribe Cast a podcast by the tribe or the tribe by Nextwave Media.