Elusive underground techno mainstay Mentrat Noihr is about as off-grid as it gets. Still, he finds himself well-received by the masses with his experimental approach to the genre that sees him formulate deepened, darkened and unconventional pieces of music that resonate endlessly with human intrigue. His latest offering sees Mentrat serve up three original cuts alongside a signature remix from Munich-based DJ/Producer Polygonia on his aptly-titled ‘Masquerade’ EP. In search of strange textures and sounds, the artist from Normandy's mystical landscapes and vibrant art scene, delivers his vision of music by dark and intimate interpretation, shamanic beats where frequencies and syncopated convulsions collide with the conscious and unconscious of the listener. We were instantly drawn to his latest EP and wanted to find out more about the artist and release. So today we are proud to bring this exclusive interview where we discuss that and more.
The Brvtalist: Mentrat, a very experimental release! Can you tell us a little about you – who you are, music you are affiliated with and your career to date?
Mentrate Noihr: Hi Brvtalist! I'm a 40-year-old guy living in Normandy, 2 hours from Paris. I have a long history as a DJ, starting with techno & house in the early 2000s, then breakbeat before returning to techno, and being an activist within various collectives (now with the M.A.D Brains collective in Caen). I started producing my first tracks around 2007 or 2008.
I've been involved in several musical projects, solo (Goldthwait) or in collaboration (Conformance), mostly focused on techno, acid, and sometimes dub-techno. I began playing live in 2012, gradually replacing the DJ activities I used to have. After a hiatus of a few years, I started making music alone again, starting from a blank page. I really wanted to create a universe that would be my own, not necessarily aiming for dancefloor tracks, but rather dark, heavy, with texture. Mentrat Noihr is the result.
TB: You say that you are in search of strange sounds and textures– how have you achieved this?
MN: It’s an endless quest! I spend a lot of time exploring sounds, recording long passages to keep only a hint of reverb, for example, or the feedback from a delay. For this, the modular synth is fantastic, especially modules produced by Mutable Instruments. Clouds, both a granular synth, a looping delay, or even a spectral processor, and Rings, a physical modelling synth for example: you can route all sorts of audio signals through them and create completely wild sounds. It's the perfect tool for creating "happy accidents", infinite and unpredictable results..
Lyra is also another incredible tool: playing with the "hyper LFO" or injecting an external Csignal into it can yield surprising things. Plugging a guitar into the aux input, cranking up the drive and reverb, adding a bit of modulation... it can lead to amazing sonic territories.
TB: ‘Masquerade’ is different. To be released on SF Records, a debut on the Paris based label that say they are all about breaking away from the norm and mainstream. Can you tell us why this label was right for your music?
MN: I've known the guys from SF Records for a long time; they are friends, and we make music together from time to time. I had already collaborated with them on the partner EP of Conformance (BNMC) with a remix, uncredited under the name Mentrat Noihr. I proposed some tracks to them that, in my opinion, could fit their artistic identity, and they were immediately enthusiastic.
For me, techno remains a limitless style of music rich in sounds and different personalities. I believe that the artists signed on SF Records have each brought their personal touch to the label's colour. I thought I wanted to take them toward a more experimental direction, still with that dancefloor aspect dear to the label.
TB: How do you see this release being played in DJ sets? Do you feel its suitable to only certain artists? (Maybe tell us who has been playing your music here)
MN: I believe that each track from the EP can find its place in a set, each at a different moment. They were composed with these moments in mind, whether consciously or unconsciously: 'Cease and Desist' seems ideal for an opening, 'Adore' for a closing. The remix of 'Masquerade' by Polygonia, an artist I've admired for several years, will be perfect for developing a deep and hypnotic atmosphere. When I compose, I don't force myself to "think dancefloor." Breaking from these codes is gaining freedom. It's also taking the risk of pleasing DJs less and therefore being played less, I'm aware of that. But a DJ must know how to surprise, right?
TB: Let’s talk about your passion for hardware and modular synths – how do you use these in your productions, and what do you have in your studio?
MN: I started working with machines thanks to my partner BNMC, initially with drum machines and samplers, then I quickly got into modular synths about ten years ago. I wasn't necessarily looking for the famous "analog sound" but rather for a workflow that suited me. I try to restrict myself regarding equipment – it's easy to think that a certain module or machine will undoubtedly improve one's way of producing or make the sound better. So today, I have a small studio but it has everything I need: a 6Ux104HP modular synth, filled with modules from Mutable Instruments, Noise Engineering, Xaoc Devices, and Shakmat Modular, an Octatrack mk2 and an Analog Rytm mk1 from Elektron, and a Lyra 8. All of this goes through a SSL12 soundcard and Ableton Live.
An important point is that everything is routable according to my desires: the modular up to the Octatrack, the Lyra up to the modular, or the Analog Rytm up to the Lyra... A very versatile and modular approach actually.
TB: Playing live has its own challenges. What is your live set up and where can we see yoplaying next?
MN: My approach to liveset has taken a radically opposite direction compared to when I started performing. At first, everything had to be under control. I didn't have the knowledge of the machines that I have now; I used to compose on Ableton Live only with virtual instruments, samples, with the help of Akai or NI Maschine controllers. So, my very first live was full laptop live, where the set was meticulously calibrated for hours to run perfectly. But I quickly grew tired of this approach, too "restrictive" and leaving no room for improvisation.
With machines, I discovered a freedom I didn't know. To the point that I focused a large part of the performance on improvisation, especially thanks to the modular. Today, my live setup is mainly composed of the modular and the Analog Rytm. The modular synth gives me three voices (lead / bassline / perc & noise) processed by loads of filters, amps & FXs. Everything is sequenced with rhythmic generators, an Euclidean LFO, or with a Turing Machine, a great module from MusicThingModular which allows to create improvised melodies and clocked modulations. The Analog Rytm gives all the drum patterns I need. This is the only thing I prepare before playing live.
These two elements then go into the Octatrack, which I use as a 2-voices mixer and FXs box. It's a setup that's very flexible and easy to play with.
TB: Finally, where else can we find your music and sets for those who are not familiar with your sound?
MN: You can find my music mainly on Bandcamp, but you can also on the major platforms :)
Pick up Masquerade now at: https://sfrec.bandcamp.com/album/masquerade