Delorean is a house pop band from Barcelona, Spain.
What made you want to do a label?
Ekhi: It’s something that we both love. We both love music. We just wanted to do something about it. I guess there’s no clear explanation on that. We wanted to started a project. Why did you start Epilogue?
Pretty much the same reason.
We’re a couple, so there’s love in between. The actual hard work is to make your project be distinct and good, different from others. You gotta make it really good, you gotta make it real.
It’s about making something real, in this ocean of MP3s. Make it unique, and you have to work a lot to make that thing real. You just need to give your music the heaviness of a real idea.
Is there a group of peer musicians that Delorean looks up to?
It can be some friend of us doing awesome music or some music from the past and you go, shit, this is still very, very good. I gotta keep up with this level. It’s just that idea. The other idea is to be convinced that you want to push your limits and your boundaries all the time, and to make something real that stands on its own and gives music some permanence. The awareness of the other people doing music that can be better than your, and the other hand, you have the need to make some consistent, real, and unique that can stand on it’s own in this ethereal universe that we inhabit. So I guess the way we approach music is through that combination. Something like that.
When we started to produce the remixes, we first got this e-mail from Merok records whether we wanted to remix the Teenagers, and we had never made a remix before. For the first time, the attitude wasn’t let’s do what we like. The attitude was do what we like to do and also give it our best, make it good as we can, and a good electronic production.
When I’m writing, I’m just looking to adopt the same mindset as my favorite artists, not exactly just mimicking their style.
I just like the word “real” and “consistent.” I think everything’s pretty ethereal and pretty light and…I can’t think of the English word.
What’s the Spanish word?
Liviano. Something that is pretty light. It’s not so much about doing something that’s never been done before, more like giving simple ideas heavy meaning, taking those ideas very seriously so you give them some uniqueness and singularity and seriousness. We’re not bullshitting here. We take music seriously.
Do you think you’ve achieved that so far?
I dunno. We were very proud of the work we did right after we finished the writing, but now I feel like we were so exhausted we were like, wow, I’m not sure if I’m able to do another song anymore. We were getting to our own limits. Now, with some distance—we finished writing the album six months ago—I feel like there’s some things that I could do better and there’s more work to do. I don’t think we’ve achieved that, there’s still some uneasiness. I still don’t think that it’s the perfect record, but it’s our best work. It’s so clear that the songs are pretty well-worked, and even if you like it or not, you see there’s some work on it.
What are Delorean’s stylistic influences?
We come from hardcore and punk, and there’s still some traces of that in our music. We’re listening to many different styles. In 2005 and 2006 we were really into Border Community and Kompakt, Bitch Control, those kind of labels. But we got a little fed up with that because it started to get a little repetitive. We love piano house, and I think you can really notice that because there’s pianos in every song on the record. I would be dishonest if I didn’t mention that The Tough Alliance was a pretty refreshing influence for us. Both for the music and the attitude and the enthusiasm. I love contemporary music too. It’s difficult to mention some, because if I mention one, I’m missing another one. We love all the pop music that is being done today.
I think there’s two main universes. One is club music. I haven’t played a single baseline on the record; it’s all sub bass, and that’s taken from club productions. From grime to. I’d say the album is very bass-driven, in that sense and the drums, the sequences, are more Chicago House. I’m not ashamed of saying that sometimes we rip off patterns from other artists and make our songs inside of that. And there’s pop music on the other side. And the combination of the two of them makes us sound how we sound. There’s melodies and pop moods, but there’s this complexity that we achieved with the songs. Some songs have up to 90 tracks that have to be mixed. We wanted to make it complex. Dense. Thick and beat driven, but at the same time there’s a layering of different textures. We wanted to make a complex palate of sounds.
Tell me a little bit about the next album.
It’s called Subiza and we’re going to release it in three months. First with this Spanish label Mushroom Pillow. I’m not sure how it’s going to be released internationally. We’re going to tour in March with Miike Snow and we’re going to do SXSW before that. We just did a remix for The xx that will be released as a 12-inch, another one for John Talabot's Sunshine and we are going to do Tanlines too. We’re remixing Cold Cave from Matador Records. We just don’t want to get too exhausted out of touring, and keep on doing music without having the pressure of deadlines and schedules, just experiment more. We fear repeating ourselves. We just need some time.
Photo by Nacho Alegre