Despite the fact that he leads the line-up of artists at Sónar 2023 in Barcelona, ​​​​​​Richie Hawtin (53 years, Banbury, United Kingdom) walks in public without fear. It’s his turn to show Bullfrog, his new range of analog synthesizers for beginners, that has a small space in the festival project area. Hawtin made it clear that he wanted to bring music production closer to the common man, and even brought devices of this type into the classroom, along with flutes and guitars. So, this techno music legend is trying to find his place in a world where the genre is no longer underground, but fashion; and where technology and money threaten to extinguish the alternative spirit of a movement he helped define himself.

How do you feel about the influence of techno and aesthetic music on pop culture and artists like Rosalía?

We are now in a very interesting time. As an artist, I’ve always wanted to take techno as far as possible; for the largest number of people and includes more people. I think we’ve reached a breaking point where it’s become part of popular culture: the fashion, the sound, and the rhythm. That is interesting. On the other hand, I feel that I came to the movement at a time when everything was very disturbing, independent and alternative. That’s what attracted me the most. I’m glad we’ve come this far, but I’m also trying to use the experience I’ve accumulated over 30 years to influence a new generation of artists and DJs. The essence and values ​​that drew me to this culture must not be lost.

In fact, there are those who criticize that techno is losing its appeal as it is increasingly embedded in pop culture.

There is such a strong and passionate culture behind this movement that it inevitably came to this point. Electronic music has become pop culture, now all we can do is choose whether to abandon it or support it to ensure the culture continues to grow and survive, remain creative and vibrant. As I said, those of us who have become part of this culture must be active as a bridge between the past, present and future.

More and more people now have access to electronic music production programs. What do you think about this?

I think that’s great. I started like this. I have no conventional training in music or common instruments. However, with the help of computers and the first programs, I had the opportunity to get creative and discover something I didn’t know was inside. And that’s exactly what those who are now downloading free programs or mobile apps that allow them to create rhythms must feel. Some will do it for fun, but others will spend more time and go further than anyone else. That was me 35 years ago! A geek who loves music and technology, and who finds ways to express himself.

What do you think is the role of independent labels today?

They are very important. Self-sustaining infrastructure in our culture is the foundation of a building. This is cement and bricks. Especially now that everything has become so big and there is so much money from institutions, conglomerates and giant companies; who invest in major events. It is very important that independent thinking, infrastructure and ideas continue to exist, where it is not money, but creativity, that comes first.

What artists or movements excite you?

Something that really inspired me was my North American tour this year. Is tour in warehouses and industrial halls with a handful of young music producers. Some are 19 or 22 years old. It allowed me to see this young and growing underground movement; and that he was also against taking pictures of the event and posting it on social networks. They immerse themselves in hypnotic, repetitive sound, I love that. In Europe we now have something big, popular and Instagram oriented. In a way, it is the antithesis. I understand that’s the way it has become, but I also think we have to hold on to what made this alternative culture a movement where people can lose themselves and be uplifted at the same time. I want to be a part of something like that.

If you have to say something about him minimum techno now, what would you say?

It comes on strong.

You generate your own sound and even own your own brand of synthesizer. Is it important?

I don’t think there’s anything wrong with using a sound library or sounds produced by other people. The important thing is to use it creatively. One has to investigate those sounds, effects and mixes to discover one’s own personality. Now there are many resources on the Internet. The only problem I see is, with so many choices, people can get lost and forget that electronic music is an art, a talent, and a trade; Like any musical instrument. Nothing is instant, nothing is instant. You have to kill time. Sometimes we forget that because we live in a world of instant gratification.

If you had to give an argument against electronic music, what would it be?

Wow [ríe]. Now I’m trying to get people into a simple synth and show them that music is easy and fun; who can quickly create interesting sequences. In this case, I think that those who don’t know much about the subject could say that it is too basic music. I guess that would be an argument. So I want to show people that it’s true that electronic music can be something simple, but also to remind them that with time and effort, something simple can be deepened and turned into art.

Do you feel nostalgic for any moment in your career?

Yes, at different times. Not only for the 90s, but for the 2000s my first Sónar Festival, for example. I’ve been very lucky to experience so many waves of amazing music, artists and sounds. I have always been influenced by my love and curiosity. In fact, I think curiosity drives me a lot more than nostalgia. The search for new inspiration moves me more than the memory of the good old days.

What is the role of technological innovation in this genre?

It’s totally related. Even in the name and etymology of what I do Techno! [ríe]. Innovation is the spark that ignites curiosity and constantly makes us explore new areas in our sound, production, presentation and performance. It’s what keeps us alive. This is the pulse of electronic music.

What do you think is the role of vinyl in the world of electronic music today?

I think something similar happens with vinyl and analog synthesizers. Behind it is the idea that humans are physical beings. We love touching things and creating emotions through materials. Neither vinyl nor CD can be emulated. You can’t even replicate the controller experience, which is what I’m playing now. A completely different feeling: the feel of playing it and the rotation; mixing and tempering. They demand real skills.

What role does the visual arts play as a complement to electronic music performance?

I’m part of the visual movement in electronic music since the times of Plastikman and the first festivals. This is important in puzzles. When visuals and lighting are added to different sections, it can make or break a sonic experience. It can be overwhelming, but you also have to remember that balance is tricky. You should know how to notice if the image on the screen behind you is being stolen Show; if people just use their eyes and record with their phones. You have to remember that the ears are the most important part, and of course the feet! Someone has to dance!

What music do you enjoy outside of electronics?