Stamp Mix #46: Nu Guinea

Even with a stellar first release on Early Sounds under their belts and now an equally great follow up on Tartelet, Nu Guinea are more than happy to keep a certain air of mystery to their project. Evidently they want the music to do the talking and leave any other preconceptions at the door. Taking influences from Africa to Asia their sound incorporates worldly grooves tied together with an array of hardware, giving a diverse and refreshing dynamic to their releases.

We got a rare chance to catch up with Nu Guinea and talk travels, synths and desert island discs. Alongside this their mix provided an opportunity to express themselves free from any restrictions.

Hi guys, nice to meet you! For the benefit of our readers could you fill us in on how Nu Guinea came about?

Nu Guinea is a trip which started a few summers ago in Naples. For this new journey, we wanted to go far away, but without any plans. We haven’t stopped since!

Considering the reception your first EP on Early Sounds gained, what has the past 12 months been like for Nu Guinea?

We have been under the radar for a while, trying to define our sound. In the meantime, we’ve been buying/selling synthesizers, meeting lots of interesting musicians (we are currently working with a percussionist for our upcoming project) and moving to Berlin, which is such a big melting pot of artists from every field of art, a part from the well known techno-house scene.

Off the back of that release how did you come about working with Tartelet, firstly for the remix of Wayne Snow’s ‘Rosie’ and then for your own World EP?

We met Emil (Muff Deep) in Berlin some months ago and after he listened to the music that we were making in our studio, he asked to collaborate with his label, by doing an EP and a remix for Wayne Snow. The Wayne Snow remix especially was very interesting for us as we re-conceived a slo-motion track with a more dancefloor oriented attitude.

The World EP certainly gave the feeling of being well-travelled in terms of inspiration. What had been your influences when making it?

We’ve been listening to a lot of brit-funk, Italian library music, world music and of course all the musicians we’ve been working with in the past few years, including the Early Sounds crew.

You seem to be the kind of guys who would have some interesting travelling experiences to share?

One half of Nu Guinea has been part of a project called Ten Cities, which aimed to a musical correspondence between Europe and Africa. He travelled to Angola and shared his experience with many musicians from all around the world.

Carrying on the travelling theme, the infamous desert island discs question – you’re castaway on a desert island with a record player hooked up to some speakers. What three records would you have with you and why? (Note: All the necessary information to find the 3 records can be located in the below)

Ok, we are on this island, we have no records with us as our boat just sinked. We try to climb a mountain and thats what we find inscribed on a stone:
“Follow The Rainbow (George D.) by riding the Cat (Teruo N.) to find the Exotique (Roland B.) treasure”.

From your sound, and the glimpses I’ve seen of your studio, you’re really quite analogue based. Could you give us a flavour of what your studio setup is like?

“Analog” is a very used term, sometimes erroneously. We definitely like to use external gear (not only analog) and experiment with processing sounds. Among the others, we’ve been using so far: Roland Jupiter 6, Estradin 230 (russian minimoog clone), Fender rhodes, some weird russian chorus and echoes, a couple of drum machines such as akai s950 and casio rz1, and real percussions.

Could you tell us a bit about the mix you made for us? 

The idea behind the mix is to give to people a glimpse of what kind of music is Nu Guinea into these days, which doesn’t have to be exclusively for the dancefloor. We played some old beauties from the past that we like to listen at home and music we sometimes play at clubs, with some upcoming Nu Guinea stuff here and there.

Lastly, what does the next 12 months hold for Nu Guinea?

We just received the proposal of rearranging original patterns from the drum-master Tony Allen, a project that will be released not so late in 2015. We are actually fully working on it right now.

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