Mauro Nakimi

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Mauro Nakimi is one of the akas of Cádiz producer Jesús Gómez, an artist who has spent more than 30 years dedicated exclusively to composition, sound engineering and feeding the Spanish electronic music scene with breaks and futuristic sounds.

It has caught our attention that he has just rescued his alias as Mauro Nakimi to release two new works in his electro style. We would like to talk to him about it, as well as find out how he is currently working on his various musical activities.

As well as being an artist and producer, you are also a record producer and work as a sound engineer in your mastering studio Aural Mastering Studio, what is your day to day life like?

Currently, I am still working as a sound engineer for several “regular” artists as usual, and I also embarked on the construction side designing, manufacturing and configuring specific computer equipment for professional musical environment, design, etc.

It’s been about 3 years since you last released anything as Mauro Nakimi, why did you decide to revive this project?

Actually, they are works that were left in the pipeline made between 2018 and 2019, in Selected Works 001 there are several tracks that were originally intended for HC Records but did not come out in the end, a track that came out on vinyl in an Electro compilation of which, I prefer not to talk about and another one that I had not published anywhere with a more IDM-oriented touch. Reference 002 would be what should be the fourth vinyl reference on the Back To Wax label, but as I decided in 2020 that I wasn’t going to continue releasing references, out of deference and respect for the work of my two French friends who participate in it, I’ve ended up releasing them digitally.

Over the last 5 years we have seen you publish with several projects, what is it that motivates you to work with one alias or another?

Diversity is richness and I’ve always liked doing different things, as well as constantly exploring and innovating. Then there is the inability or lack of understanding of the receiver of the message if the name is not associated with a specific sound, it seems that if the mental programming of the receiver is not sufficiently open, he/she is dispersed when seeing that your range of sounds is wide, the democratisation of music, the democratisation of the market have a lot to do with it, the neurolinguistic programming aimed at making “followers” has diminished the capacity of the receiver to decode a wide frequency spectrum.

Do you have a different audience for each project or do you think that a large part of your fans follow you in everything you do?

I don’t have social networks since 2020, because after the events and discovering the degree of moral relativism and social Darwinism that exist, I prefer not to have direct contact with that kind of control tools and because of the aforementioned I don’t want followers, I want thinkers.

Although you produce in different styles, does it all start from electro?

Nothing starts from a specific style and in fact I can say today that it will be very rare for me to make new electro work, nor as Mauro Nakimi in general. 

Although at first glance they seem like two chapters of the same musical idea, Selected Works 001 and Selected Works 002 are completely different. As for the first part, the album is conceptual and is based on a curious story called ‘El Pacto’, what can you tell us about this story and how it has influenced the creation of the tracks?

Well, as the text itself tells, it talks about how the current matrix space was created and how we are controlled in the reality we live in, anyone who has the will to know, is aware enough, if they investigate, they can find information about it. We live in a reality where 99% of the information that is received is opinion, and people accept it without question. When you come to the truth through yourself, through the will of wanting to go up in consciousness and you manage to discover things that are hidden to the majority, that discovery, that certainty, that truth becomes knowledge and knowledge is engraved in the soul.

In Selected Works 002 you develop a different story, Apatía vs. Voluntad (Apathy vs. Will), what is the meaning of this concept in the musical development of this release?

Well, I have described the will in the previous answer in a rough way, and apathy is the unconscious of the one who feels comfortable with his slavery and is unable to differentiate between good and evil, he is immoral, a dead man who does not want to “revive” and who feels good having been declared lost at sea.

Besides being created from different concepts and stories, Selected Works 001 and Selected Works 002 are also conceived in different ways, since in the first part the tracks are all original and in the second part there are remixes of Foreign Sequence and Jauzas The Shining, what do these two artists bring to what you want to tell with your music?

They are both good people and great musicians, and I didn’t want to leave their work unpublished at least in digital.

S elected Works 001 and Selected Works 002 are released on your label Back to Wax. On this platform you have only released your own releases and under different aliases, however, you have never released anything from Sub Fundation, why do you work with other labels with this project?

Sub Fundation, as a project is the culmination of what I have dedicated to music over the last 31 years. UK Hardcore was the first style I started composing with in 1993, and to end up on the best label in the world, Kniteforce Records, remixing, sharing label and works with the artists I played with in those years, is just perfect to leave the project as high as possible, and I think it’s a perfect “end” to my relationship with music in general. 

Do you plan to revive Soul Murderer, Nucleotide or ArtSelect?

Well, I have an album done as Soul Murderer that I would like to release, we will polish its form and see how and where it comes out. 

Are your current gigs djing or live oriented?

Well it’s going to be quite rare to see me perform in general, I can’t say I won’t drink from this water but as of the writing of these words it’s what I feel and what I feel like. I really thank the Industrial Complexx team for the space, the treatment, the musical knowledge that you always transmit, a big hug.

Below you can listen to an interview with Mauro Nakimi in Spanish recorded for La Tercera Oleada, a radio programme hosted and directed by Ximo Noguera.

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