The Echio Quiz with Bawrut

How did you learn music, and did you have mentors?

I learned music by experimenting with a PC and laptop. A friend who was a hip-hop producer helped me set up my first gear—a sampler and an old version of Cubase. Later, I moved to Propellerhead Reason, which was a game-changer with its sequencer, drum machine, and other tools. I didn’t have a mentor but learned by observing sound engineers and experimenting on my own. Growing up in a small city in Italy with limited dance music opportunities, I had to rely on self-teaching.

Tell us about a key feedback you received during your career and from whom.

Jackmaster was the first to believe in me. He played my track "Ciquita" on his BBC Radio 1 show, which gave me the confidence to keep going. He always encouraged me to stay true to my free-spirited approach. His belief in my work and his support, like asking me to release on Numbers, was incredibly empowering.

What is good music feedback in your opinion?

Good feedback acknowledges your inspiration while recognizing your unique touch. I don’t want to sound like anyone else—I want my music to reflect my individuality. Comments like "this is weird" or "this is sick" are great because they show my music stands out. Feedback that avoids labeling the music and embraces its uniqueness is the best.

What feedback would you give to your first release (please name the release)?

My first release, Ciquita, was a track that captured my experience of moving to Spain. It included Spanish samples, heavy percussion, and an acid bassline. Looking back, I’d focus on refining the technical aspects to enhance its playability in modern club settings. Still, I think it was ahead of its time in blending Latin elements into electronic music.

If you could spend a day in the studio with one of your heroes, who would it be?

There are too many heroes to choose from—Suzanne Ciani, DJ Koze, Maurice Fulton, Richie Hawtin—but each would teach me something new. Even working with someone whose music I don’t like would still be a learning experience. Every interaction in the studio has value.

What’s the object in your studio (musical or not) you can’t live without?

In 2024, my laptop is indispensable. It’s the core of my music-making process, allowing me to explore endless possibilities. Back in the day, it would’ve been my Roland TB-303 or other vintage gear, but now, with a laptop and a DAW, you can do so much with minimal resources.

If you were not making music, what would you do?

I see myself as a craftsman rather than an artist. If I weren’t making music, I’d likely be working with my hands—pottery, woodworking, or something equally functional yet creative. Like crafting a unique bowl, making music is about creating something practical but deeply personal.