Marcus Raute talks new EP 'Source Code Memory' out now on Back To Life

Source Code Memory is built around the idea that we all carry a deeper spiritual code within us. Where did that concept first come from for you, and how did you begin translating something so abstract into music?

Let's say this isn't just a personal idea but part of a knowledge much older than ours to which I've gained access through personal research, esoteric readings, and attendance at esoteric conferences. Over time, meditation as well has played a key role in helping me develop and bring this idea to life. From a creative standpoint, it was a spontaneous process, trying to convey a message.

There’s a strong connection throughout the EP between repetition, movement and altered states of consciousness. Do you see the dancefloor as a potentially spiritual space, and have you personally experienced moments in clubs where music has created that kind of reconnection?

Let me start by saying that this is my personal idea; a dancefloor could be, or could potentially become, a spiritual space, potentially unconscious for people. Think for example of mantras or spiritual rituals of many cultures where they occur through dance, the rhythm of drums, and nature. We get very close to the concept even though the circumstances are different but the point here is what the repetition of percussive rhythms, drums and other elements does to the body and mind.

There have been some parties, more than others, where there have been magical times with people,a complete connection is created between you, the music, and the dancefloor. We can consider those moments a sort of reconnection because the only moment, in that moment, is the present moment.

“Reconnect” features Detroit visionary Abu Qadim Haqq, whose voice brings another layer of meaning to the record. How did that collaboration come together, and what was it about Abu’s philosophy and history that felt right for the opening track?

Haqq is a friend, we had several conversations over time about topics very close to the meaning behind “Reconnect”, and from there the idea was born. We met during his visit to Naples for a job in 2020. He created an amazing mural in a bar! We had the chance to hang out in my studio, where I played him some of my tracks, and I still remember his reaction! We've stayed in touch ever since. As for our collaboration, I remember it was my idea, but as soon as I proposed the project to him, he was very enthusiastic about participating. I gave him a generic input on the topic and he developed the lyrics and the recordings, then I worked on some versions of the track and chose the "Bounce Mix" for release.

“Body Code” strips things back to drums, rolling grooves and repetition, drawing heavily on old-school house. When producing something deliberately minimal like this, what tells you that a groove has reached the point where it no longer needs anything else?

This is a tricky question! Let's just say that jamming in the studio with drum machines, samplers, and synths helps a lot; you have fun, you move, and you're in the flow. These are positive signs. For these types of tracks, however, I try to get a powerful and catchy groove and process everything through saturators, such as an original Akai tape saturator I recently bought, the Elektron Analog Heat, or plug-in emulators in the DAW, which make sounds very aggressive. For example, an original 909 kick is cool but if you run it through a saturator it can become the soul of the track! So when you think that the power of a sound system in a club would make those few elements gigantic, you could also imagine how the track would perform. From there, I develop the track with the various sections.

There’s an interesting idea behind “Body Code” of essentially freeing the mind through the body. How important is physical movement to your own relationship with music, both when you’re producing and when you’re experiencing it on a dance floor?

Here we can connect to some of the previous questions. Movement associated with music can become a trance-like state, or simply be a beautiful moment to enjoy. Personally, as I mentioned before regarding studio jam sessions, I often or almost always find myself moving with the groove, and this makes the experience even more complete, as well as being fun. I think movement, which often begins unconsciously, is an integral part of the experience of listening to or dancing to music and while it may seem obvious, it remains an extremely fascinating phenomenon. On a dancefloor, this experience is clearly amplified and sets you free from everything else. “Inner Transmission” feels warmer and more musical, with Rhodes, organ, vocal chops and live improvisation bringing the influence of ’90s deep house to the surface.

What is it about that period of house music that continues to resonate with you, and what do you think producers today can learn from it?

90s deep house is a timeless genre, as far as I'm concerned. I still listen to records from 25-30 years ago and am heavily influenced by that music. The atmosphere, that kind of bass, sampling, I think it's precisely that approach to that type of production that resonates with me and allows me to continue making new things inspired by it, especially considering the current times. For me and all my colleagues working in this genre, listening to earlier years can be very inspiring.

The live piano improvisations on “Inner Transmission” introduce an element of unpredictability into a record otherwise driven by hypnotic repetition. How important is leaving room for human imperfection and spontaneity within your production process?

Let's say it depends on the mood of the track, on what you want to convey. Some tracks are dominated by repetition of patterns and don't need anything else, while others are completely human-played. “Inner Transmission” was born precisely from the idea of conveying the human characteristic, the imperfection that becomes recognizable and therefore expression.

Giomini closes the EP with his reinterpretation of “Inner Transmission”, and you also have a longstanding friendship outside of music. What made him the right person to complete the record, and when you hand something this personal to a remixer, do you give them direction or prefer to let them follow their own instincts completely?

Starting from the end of the question, I never ask a remixer for anything specific but leave them free to interpret. This would also be infringing on another artist's creative side. I've known Giomini for over 20 years now. A friendship born around music that has strengthened over time. He's an excellent DJ and producer, with enviable taste and musical knowledge, so to speak. I didn't hesitate to entrust him with the remix when the release was being discussed, and his contribution was of the highest quality, as far as I'm concerned. I'm thrilled to have completed the release this way!

BUY: https://backtoliferecords.bandcamp.com/album/source-code-memory