Lusine on the Detroit People Mover, Movement 2009 from Create Digital Media on Vimeo.

I’ve been a big admirer of Lusine’s adept sound palette, which smartly blends minimal, techno, and ambient techniques. That, in turn, represents to me some of the best stuff the US-based label Ghostly International is turning out. Liz McLean Knight sends us this video of a conversation she had with Lusine at Detroit’s Movement Festival in May, wandering onto the city’s People Mover. (You can join in a chorus of the Simpsons “Monorail” tune if you like.)

One aside from Lusine not in the above video: he talked about sticking with stock plug-ins for stability. What he didn’t say, but what you might infer, is that this may help him keep his sound focused rather than getting distracted by other capabilities. On the other hand, speaking of rules that are meant to be broken, he’s friends with Richard Devine, who has a VST folder that could put any of us to shame and bring any VST host to its knees.

You can bet CDM will check in with Lusine when the new album comes out – and we’re eager to hear just what this vocal/”pop” direction may actually sound like.

No relation to the Lusine who was Miss Armenia 2003, though I can’t imagine this Lusine would mind the comparison.

  • Great interview, with a good friend.=) RD

  • Always interesting to hear how others are working. I think he's right about how music is taking and easier to understand/do direction, with clear interface and relevant feedback on what's happening on the sound.

  • Vehical Driver

    Perhaps it is just me, but it seems to me that there is a certain "10 million plugins popped into Ableton Live" sound that seems to be what the young whipper snappers are into today, and it gives me a bit of ear fatigue. Part of what I liked about electronic music back in the day was some of the simplicity of the production. It is good if Lusine is taking that approach, although I didn't get that vibe from the interview (it just seems like he was defending Fruity Loops, which in my opinion has become as bloated and complicated as any other software).

    Oh, and downtown Detroit looks strangely European from the window of a moving "People Mover".

  • Scott was one of my first influences when it comes to actually being inspired enough to hunt out abstract electronic music. His music introduced me to Hymen Records and Ad Nauseam about 10 years ago, and probably a bunch of other labels too. He comes off very humble, glad to see all the opportunities he's had haven't given him a fame complex.

    Yay for FL Studio, and yay for anything that increases accessibility — even if it does make it harder for the label reps to find the cream of the crop in their inboxes.

    I'm convinced that FL's bad rap and perhaps even its' INCREDIBLY BLOATY UPGRADE schedule per version (as mentioned by Vehical Driver – i'm still learning to implement the best of v7 myself) come from the public stigma that its less of a DAW because of the name. I was attracted to it because it had those fun internal controllers, even before it had vst support and resembled a tracker a little back in the early versions.

    When it comes down to it, anything can be a toy. A tool's ultimate functionality is defined as much by the user as the designer.

  • Cool interview. I first heard of Lusine when he was doing more IDM-oriented stuff, but his newer "The Stop" caught my ear recently.

    Here's some more context for what the Detroit People Mover looks like; taken on a recent photowalk (and ride!) in Detroit.

  • Wow, Bill — gorgeous photos there!

  • Orubasarot

    Lusine is among very few other producers who are responsible for output which I couldn't possibly critique, and yet they are all surprisingly easygoing about the quality control issue, which really frightens me.

    Sooner or later you're all going to drown in your own optimism and Sublight wont be the only casualty.

    Though I finally understand that rather than bitching on the internet for 10 years, I should just jump ship instead.

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