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Interview: Blind Vision [Muzic Research]

TF: What speech is behind the name? How did you end up making electronic music ?

BV: In 1984, at the age of 17, I started playing with my mate Talla 2XLC as a DJ at the famous Technoclub in Frankfurt. Technoclub was unique in Frankfurt at the time and at the beginning the concept of playing electronic music in all its facets and directions, mainly electronically with a few exceptions. Only we liked was played. It was a wonderful mix of Italo, Electro Funk, formerly EBM, Industrial, UK / Sheffield and bands like Blancmange, YMO, Telex, DAF and of course Kraftwerk. Over time, I had the feeling that there were only a few songs that reflected that. Hard, danceable club music. That's why in 1986 I started producing music myself. Since I was a big fan of Blancmange and I especially liked her song and lyrics of Blind Vision, my choice accordingly. I was able to identify with it 100%. Blind Vision was born.

TF: You haven’t given much interviews and you remain quite discreet despite of the recognition your productions and dj sets. Do you think that an excessive media exposure tends to cause harm to music?

BV: For me as an artist, it is important to realize my goals and to feel good about them. Other than many others, I never wanted to make music my profession. Neither as a DJ nor as a musician. I always wanted to preserve my musical freedom and not fall into any trap through financial or artistic dependencies, for example to have to publish songs. I have kept that to this day. I do not use DJ sampling but buy the music I like and put it on. Maybe I also want to publish the gene a little, because there are many unpublished songs in the drawer slumber.

TF: Recently, have you seen any movie or documentary, or heard an album that has influenced the way you make music? What other art forms or music inspire you as a person?

BV: In general, life gives me the greatest inspiration. In addition to all the global political issues that make my sound just harder, it is important that you always remain curious to discover something new. No matter if art, food, countries or music. Who impressed me very much is the audiovisual artist Ryoji Ikeda. But also concerts by Max Richter, Jon Hopkins were very inspiring.

TF: Your career in the world of production is long, guess you have seen the different stages of electronic music in general, the new digital age, the fall of some musical styles but again the rise of some of them. Particularly what is your current vision of EBM and electro?

BV: In my view, the scene is getting smaller. Many clubs close, people tend to stay at home and there is little talent. This applies to EBM, electro and techno. And that can be a chance. The musical separation that took place at the beginning of the 90s is being softened. This can lead to mutual inspiration and bring young people back to the scene. At the same time many new motivated bands enter the stage who do not sound like a copy of the Top10 bands. It goes ahead.

TF: Can you tell us more about ''Look A' EP in Mecanica? What does it bring to your work? What are the perspectives you want to explore through this?

BV: 'Look At Me' is the last chapter in the book. It was important for me to release the New Zone songs together on a LP. In addition, all songs were remastered again with current technology. If you're more into streaming and downloading, for the first time you'll have all the songs together with other unreleased songs or remixes. I am very happy with the result, César and his team from Mecanica Records did a very good job.

TF: What do you think is the role of new technology in composing music? Do you rely more on digital or analog sound?

BV: Technologies will never replace creativity. It may simplify certain things, but in the end the result counts. I always compare that to a cook. Just because the cook may have more tools, better knives or cooking pots in the kitchen does not mean the food tastes better. But there will always be more cooks ... For me, it basically does not matter if analog or digital, I have no fear of contact. Both worlds have their advantages and disadvantages. In order to have all the options, I bought myself a hybrid mixer with analog technology and integrated digital interface. This is the best solution for me at the moment.

TF: What are you working on now? What ideas or plans do you have for your
 future work?

BV: There are always requests if I would not perform live. That's why I'm currently working on live versions. Parallel to this, many unreleased songs have been produced over the years which I now want to finalize with guest vocalists. Then one or the other appearance would stand in the way nothing.

TF: Can you tell us about the mix made for The Forgotten?

BV: The mix is ​​a colorful bouquet of 35 years DJing. Let yourself be surprised ...

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