Future Stars… with PRT Stacho

PRT Stacho’s story is one that’s very much based around an uncompromising will to succeed. He started out like many others with a copy of Fruity Loops; a highly influential computer game that’s undoubtedly earned a place in electronic music history. It hasn’t all come easy though – PRT’s last album was entitled Every Day My Life is Drama, which perhaps goes some way to explaining how his current mood is very much at the centre of his sound. Now invigorated after a much-needed lengthy break, he provided the latest mix for us, which you can listen to here. But before that, take a read of our interview with the man himself…

Tell me a bit about Krasnodar; what was it like as a place to experience electronic music?

Krasnodar is a warm city. Here, life moves measuredly and relatively slowly. And the music here corresponds to the temperament. Like most places, commercial venues play more leisurely, chart music. But there are also parties from young artists and showcases, they play more minimal sounds that are more to my taste.

Your first passions were prog and tribal, right? What was it about the sounds that you loved so much? Was it unlike anything you’d heard at that time?

That’s right. I got acquainted with prog and tribal in 1998; at that time I was 14 years old and I listened to everything (rock, pop music), at the same time. At a regular disco, I heard these completely new sounds that were a real discovery for me. I entered into it full of surprise, and it still amazes me.

Was there an element of escapism to your fascination with electronic music?

For me, no, not personally; I just wanted to touch electronic music and understand the process of writing it.

At what stage did you begin to take it seriously?

As soon as I heard it first! 2 months after becoming acquainted with electronic music, I came across a CD featuring Fruity Loops 2. Well actually, I installed it on my computer, launched it and turned it off after half an hour. Because I had no musical education and did not understand the process at all. Back then there was no Internet and acquaintances who could show me the basics. After a couple of weeks, I launched the program again and, as we say, with “trial and error” I began to study the program. And since then, I have devoted all my free time to music.

Where are you at with your current productions? Do you work mainly in Ableton etc or are you a studio guy too? Do you think it makes a difference these days?

Every aspiring musician with a basic knowledge base can create incredible compositions now. So maybe it doesn’t matter now. But I wrote exclusively with software in FL Studio and that was probably my main mistake, as this led to a gradual burnout and a break of four years.

Because when you have been making music for many years, you want to touch the instruments and work with them live. As well as a great sound, sound, the environment affects you and what you write. Sooner or later you come to the conclusion that you need to make your own studio, which is what I am doing now.

Your first release was in 2006, but your sound now leans more towards minimal techno, which is obviously very different to your early influences. Was there one gig or release that really helped you embrace this new sound?

I got acquainted with minimal music in 2006 when I came across small sites and labels where artists shared their music. It made a big impression on me; it seemed this music was not from our planet! And if my memory does not fail me, the first musicians I heard there were Bruno Pronsato, Hugo, Franco Cinelli, Titta and Apoll. All artists that still inspire me now.

I believe you took over the Newborn label a while back. Can you tell us a bit about that and what it’s been up to of late?

My friend and I bought NewBorn Records in 2007 and started running it ourselves. The main goal of the label was to help young musicians to believe in themselves and release the first release. Unfortunately, after a few years, we stopped its activities due to lack of time.

You’ve also collaborated with a lot of artists in the past, including guys like Ahmet Sendil. How do you find the collaborative process compared to working on your own? Is there a lot of compromise involved?

I always thought it was comfortable to write music myself and I didn’t like it when someone interfered in my track. But when I did the first collaboration, I realised I was wrong. Each person is individual, and can bring to the track that idea that you did not even think about. The main thing is to do it with a musician with whom you will complement each other, then there will be fewer compromises.

Your last album was called Every Day My Life is Drama. I’m guessing this is quite autobiographical; can you tell me a bit about that one? Any plans for another album soon?

This album was recorded over two whole years, because I understood that I had exhausted myself creatively. It was very difficult for me, you can say I squeezed it out of myself. When I finished it, I sighed with relief and realised that I needed to pause, rethink and gather ideas. That’s probably why the title of the album is so sad. Of course, I have already started preparing for a new album, now I am studying new techniques for writing music, because I don’t want to return to the past. There are a lot of new and interesting things ahead.

You’ve also done a mix for us; can you tell us a bit about that one? What was the vibe you were going for with it?

In this mix, I wanted to show in what direction I will be moving in the near future. I hope you enjoy it.

How would you introduce your sound in a few tracks?

PRT Stacho – Alien

PRT Stacho – Humanity

Finally, what’s next for you – professionally and musically – that you’re really excited about?

Music does not stand still and during these 4 years while I was only a listener, I have to study and relearn a lot. And the main task now is to finish my studio because there are a lot of ideas in my head.

Keep up with PRT Stacho on Beatport, Soundcloud and Instagram

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