Virgil Enzinger – Master of darkness

1. How and when did you first get into producing electronic music in general – and what motivated this commencement?

I started with ProTracker and a Sampler on my brother’s AMIGA computer about 15 years ago. First I tried to analyse and copy techno tracks. This was a way to find out how those tracks were arranged and built. After I had some insight, I started to create my own tracks and implemented parts in my own tracks that I thought were missing in the techno music at that time. Because I was dissatisfied with the techno music at that time, I was driven to create better results already at that time.

2. What production aliases do you currently work under, and how would you define their separate styles?

Currently only Virgil Enzinger and VX. The VX style is much deeper, not only techno but moving more into the film music genre combined with techno. The Virgil Enzinger style is mainly dependant on my current feeling. But all productions are at all times influenced by my dark style. So there can never be just one direction and I am open for all and everything. My spirit will guide me to whatever style is necessary and my inner talent will help me to achieve whatever results are required.

3. What is your current studio setup and how do you achieve this unique, dark, emotional sound?

It’s coming from my heart and soul and my true understanding about humankind’s uniqueness on the planet. If everything would be in order all the time, there would be no need to create dark sound – but because everything is out of balance, the only response was the creation of this particular style of darkness. From the beginning, this emotional pattern was inside myself. But don’t get me wrong: I am the most positive person you could ever meet, so only because of this it was possible to transcend the world into this kind of music. This feeling is always there, always inside me, all the time. Sometimes it is just small, sometimes it is coming in waves,. This is putting the world for myself into perspective, the world gets a higher meaning through achieving the “dark-style”, the essence of all, of the world, of life and of music. This is only happening in a few moments in my life and it is not at will. It will come and go by it’s own. If for instance I have finished creating a new track, the feeling is almost gone. But after a short break this feeling will arise inside me and push me to continue and to go on and on. It is not dependent on any particular set of production equipment. If you are the one, you will get there. It is not related to any equipment or any style of production. Even with the most basic equipment you can achieve the most outstanding results.

4. How do you master your tracks, hardware, software or a combination of both? Any favourite plugins?

I don’t do my own mastering. People who have mastering experience more than me like Brian Sanhaji or Thomas P. Heckmann will do the final mastering for vinyl or CD. For instance the mastering for the VX Fiction album was done by Brian.

5. Tell us about your recent album on Nachtstrom Schallplatten. How did the idea come about and what did it take to make this project a success?

After collaborating with Xavier Morel for more than a year we had created a full set of tracks. We had even more tracks than would fit on a CD or Vinyl so we decided to release at least some of them on an album. Xavier suggested the German label NACHTSTROM SCHALLPLATTEN owned by Fabian Mulfinger to release the album. Fabian was one of the most professional guys I worked with. His understanding of the unique VX idea helped speeding up the process of creating and releasing the album. Together with Fabian I could get some of the best names in the scene to do the remixes for VX, such as Eric Sneo, Lars Klein, Alex Bau and Submerge. The key to the album’s success was the ultimate understanding between the three of us.

6. How did you get involved with Elektrax Music and the Sydney label Android Muziq, run by DJ Hi-Shock?

It began with a remix request by DJ Hi-Shock and continued with contributing some of my own tracks to the label. The correspondence was nice and I had a good feeling about it.

7. What vibes can we expect to hear on your new Virgil Enzinger release, Magnitudo EP on Android Muziq?

The new release on Android Music by myself is the track MAGNITUDO with massive remixes by two French guys, Brian Burger and Octave. Brian already did one remix for the upcoming VX release PARANORMAL and I know he is an extremely talented producer for fresh modern techno. Octave I met first on a gig in Tresor, Berlin, and compared to a lot of other producers his productions were kinda unique and outstanding. My statement for the release: Dark, intelligent, peak-time Techno.
The vinyl is out now: http://www.deejay.de/Virgil_Enzinger-Magnitudo_Ep-ANDROID002__464031

8. Which other artists/DJs do you currently enjoy working with or remix, and what’s the attraction of these particular people?

Mr. Xavier Morel (Tokyo, Japan): Nothing more to add, the main guy, has been DJ for Juno Reactor, most brilliant producer and most outstanding DJ I have ever had the honour to work with.
Mr. Bas Mooy (Rotterdam, The Netherlands): I found in him a kind of mirror image of myself in terms of understanding and producing dark and advanced techno music.
Mr. Submerge (Chicago, US): From the very beginning he supported my production style and pushed my productions here in Europe like no one else. He believed in me at a time when my name was still not so popular.
Matt K (Atlanta, US): Massive inspiration from him for the BIG stuff, Cosa Nostra, it is all about to happen in the very near future.
Eric Sneo, Cisco Ferreira, A. Paul: Those three Masters of Techno inspired me each in their own creative way and all of them released some of my tracks on their labels. Needless to say that such bonds helped pushing my own creations to the limit.

9. Where would you like to take your music from here?

I cannot give you any particular direction right now, because my music is always connected to a feeling. Creation of my music is not a mere process of what “is” in the moment or an intention of what “will be” in the future. The moment is the key and you cannot influence the techno movement by just your own intentions. You cannot change the flow of the movement and for this you cannot know the direction. Everybody, artists, producer, the fans, the party people, everybody has a part to play in this movement. At no time could you predict the direction of the movement because this issue is something beyond the control of the individual. Here and now we celebrate our parties!!!

10. What are your thoughts on the digital download phenomenon (positives and negatives)?

The great issue about digital downloads is that literally everyone anywhere can have access to music. So in a way digital download can be seen a s another step in evolution, that helped to connect people all over the world.

11. How does digital download suit your own needs and directions?

Additionally, to vinyl platforms like Beatport offer the possibility to reach a far bigger audience than ever before.

12. Do you think digital download and digital files will eventually replace vinyl for DJs?

Hard to say, because all DJs have the right to choose what is best for their style. Some of us prefer the digital world, other the good old analogue stuff. As long as the sound rocks the crowd and the party people get what they want the media itself is never the issue.

13. Some people hate the idea of digital download, and say it’s not “real” music. We only release vinyl. What would you say to them?

Again, it depends on the people. If you grew up only in a digital world it is one part. If you only stick to vinyl, it is another. Everyone should decide what is best for their individual needs.

14. A lot of techno producers refer to music released back in the 90’s. What do you think about those days and what labels did you like back then?

I believe in the music of the here and now. I don’t want to give you the same dusty kind of “our roots” answer that you have read over and over again. I believe that what is happening now in our time is seeing the biggest potential techno music ever had and will be.

15. Techno artists like to say that they produce for the love of music, not for money and that these days digital releases are really more of a tool to promote their name in order to score gigs, because that’s where the real cash is anyway…so…here comes the final question. Why do YOU make techno music?

Well. I have been visiting techno parties for a long time even before I decided to produce techno music. At first the feeling was to “cut off” the “real world” only for one day, when you are at a party. But that wasn’t enough for me, I needed this feeling everyday, I became addicted to techno music and as a result, I started creating own tracks. I am living my life now as a matter of fact and it is my destiny to create something in our time. But independent from time, I believe that my destiny would have driven me to the creation of music anyway, be it in the past or the future. In this particular time, my music is techno music. So why do I make techno music? I cant really give a specific answer. If you want to fully understand what I am trying to say, you have to listen to the music I have created. I cannot express this in words – only in music. the answer to the question can be find in my music, I guess. listen to my music, listen to Virgil Enzinger!