Unveiling “Moonrise VII”, Paramida adds a second instalment to her spellbinding EP trilogy.
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Just one stream of Paramida’s soundscape is enough to attest to one simple fact: this is not your average artist. Totally refined, expertly controlled and inescapably hypnotic, Paramida unveils the second EP of a transportive trilogy, titled “Moonrise VII” — a three-track effort that seamlessly transpires into a slice of ecstasy, where bouncing beats and sparkling notes dance over a chest-pounding rhythm. Opening with “Sailor Moon House”, Paramida captures the spine-tingling climax of a good night out with every bar, raising pulses, arms and spirits in its wake. Closely followed by “Space Ride” and “33”, Paramida takes listeners on a journey of emotions — taking a heavier approach during the former and an ethereal reset during the latter.
“This EP is very special to me because ‘Sailor Moon House’ and ‘Space Ride’ are the first two tracks I ever made. They were actually for another label which is now defunct, so I’m really happy to release them on my own Love On The Rocks. Following ‘Dream Ritual,’ ‘Moonrise VII’ is the second part of a trilogy based around the moon calendar,” adds Paramida.
To celebrate the release, we sat with Paramida to discuss the making of “Moonrise VII”, the behind-the-scenes production process and her music label, Love On The Rocks. So, to stream the EP and to read the full interview now, head below…
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Paramida, tell us about your upcoming second EP, “Moonrise VII”.
“Moonrise VII” is part of an EP trilogy. I released “Dream Ritual” last year, and the third will come out next year. “Moonrise VII” is very special to me as it includes two of the first tracks I ever made. The inspiration behind the opening track “Sailor Moon House” draws from early 90’s beach raves in Goa. I was inspired to embody this spirit and somehow bring it back. I’d spent years telling artists that want to release on Love On The Rocks to try and do the same: to soundtrack that moment of ecstasy at 8 AM as the sun comes up. Then I realised I should just do it myself. That’s essentially why I started making music – to capture unique moments and explore what they mean to me.
How was the working process behind this EP?
This time I was working all by myself. I did everything, including the distribution and production. The record is being released on my own Love on the Rocks imprint, which allows me to have full transparency and visibility over every aspect of it. It’s quite rare in the music industry. Normally the artist has limited control and must deal with other parties such as record labels, management agencies and distributors. They all have their own interests to promote, which often don’t align with those of the artists. I believe this old-fashioned system with an outrageous lack of transparency is archaic and doesn’t suit today’s world anymore. The 90’s are long gone. Same goes with vinyl, which have become collectors’ items nowadays as a lot of music is digitally available. People today want to own something special and limited. Therefore, I’ve decided to raise the prices of my releases on Love on the Rocks. I believe that a piece of musical art that is being pressed on vinyl in the 21st century and is produced 300, 500 or 1000 copies should be more expensive than a pair of trainers which are produced overseas. I’m so confident about the music I release that I’m willing to take the necessary financial risks of producing it on vinyl, instead of only releasing it digitally. I’m really pleased the record sold out so quickly after all the hard work I put into it.
You also released an NFT piece in addition to the record. Why have you decided to do it and how do you see NFTs and Blockchain technologies being integrated with the music industry?
That’s right. My very first music NFT, “Kalitya’s Theme”, was named after my two beautiful cats Anitya and Kali. The NFT went on auction on the decentralised Web3 audio-streaming platform Tamago. I also decided to experiment and release it as a Utility NFT, which means that in addition to the unreleased track, the NFT also included access to guestlist spots for all the Love on The Rocks events this year. I think that NFT and Blockchain technologies are important for musicians and the industry as this inherent decentralised nature could eliminate ‘the middleman’ and put the power back into the hands of the creators. For example, you get to set the royalties and the prices – so how much will be paid is up to you and it is not a hidden fixed rate with algorithms. By eliminating redundant intermediaries, you get the cut you are supposed to get. It’s the artist that gets to set and see everything unobstructed. Also, the Blockchain is immediate, which means tracking revenue can be done in real time. Instead of waiting to get paid for streams or sales, you get paid immediately. In addition, when it comes to royalties, tracking them has been a problem that’s plagued musicians and artists since the dawn of time. Intermediaries have had full control over the distribution of royalties often with little to no transparency.
Would be interesting to get a glimpse into your production process. How do you make your music?
I use Ableton, but my music has an old-school sound and vibe as I sample all my records and use them for making my tracks. This sort of upcycling approach gives them a special touch and swag. It’s all about taking samples and elements from old music and putting them together to create something new. You don’t necessarily need super fancy equipment to make great music. I also don’t believe in over-producing my tracks, or overloading them with too many elements. Less is more. A lot of great old records are so effortlessly arranged, they make newer productions sound so forced.
How do you see electronic music evolving?
I do see a pattern where music productions are adjusted to current consumption behaviors and the limited attention spans of people today. Music is consumed and produced in the same way people consume social media. DJs play way faster, with no real storytelling, structure or journey in their sets. Just like Instagram stories or TikTok videos. The technological progress is great, but we need to make sure we navigate it and move in the right direction. I feel like it’s part of my responsibilities as an artist, especially since I notice that the real art of DJing is fading out. Finding music has become so easy, everything is accessible to everyone, served on a silver plate. Back then, DJing was only possible if you knew how to play vinyl. I’m not against CDJs, I use them myself, but I think even the art of developing your own sound barely exists anymore, because people don’t have to dig for music. Algorhythms on YouTube and Spotify as well as Instagram Pages that dig out and post great music are literally everywhere. You need zero effort or skills to be a “DJ” nowadays. And this is why I love record shops and dusty warehouses full of records, because music is endless and you never know what you will find. It is so important to disconnect and search for music offline. Instagram made DJs shift their focus onto themselves as a product and animating the crowd while playing rather than the music itself. I feel like underground music is going more and more towards EDM – and that’s unfortunate. But it’s important to note that not everyone is like that. There are still many artists out there who are doing it right, and luckily, there are enough quality crowds that don’t resonate with the current trends and are looking for more interesting and sophisticated music. And that’s precisely my goal with my label events – to provide them with exactly that.
What differentiates your label, Love on The Rocks?
I founded Love On The Rocks in 2014 as an experiment in musical exploration, embracing artists both known and unknown, music both old and new; through re-issues of lesser-known tracks, I discovered via DJing, digging and exchange of knowledge with friends and peers. It’s almost a forensic rethreading of obscure musical paths, tracing connections between artists, tracks, moments, and memories and reframing them for today’s audience and the dance floors of tomorrow. The label’s tagline is “Those who don’t believe in magic will never find it…” It’s about believing in yourself, believing in your friends, believing in the future – especially when you don’t know what’s going to happen next. That, and having tons of fun while doing it.
You’re also a resident in Panorama Bar. What’s it like?
I became an official Panorama Bar resident in 2020 but started playing there in 2015. Just like Paradise Garage in NYC or Hacienda in Manchester, Panorama Bar is a club that writes music history, and being part of this is such an honour. I learned a lot about myself as a person and as a DJ there throughout the years. I see lots of DJs getting both excited and nervous when they get booked to play there, thinking they must play the set of their life – banging it out. I think that if you play more ‘vibey’ or fun, people tend to appreciate it more. My two favourite slots, for example, are opening – because I set the tone and energy for the night, and Sunday daytime, as it has a really relaxed atmosphere. You can build it towards the night-time party. No banging out needed.
You’re going to have a label night party there soon. What’s on the agenda?
I find this label night extremely special. Normally in line-ups, you see the same names together. But when I curate events I always try to break barriers and rules. I prefer to book DJs who might not be in the same ‘scene’ as I am, but we have clear musical crossovers. We can play the same record but in a totally different context and what bonds us is the same love and passion for music. This night in Panorama Bar is part of a series of events to celebrate my release, together with London and Brussels. I’m really looking forward to it. It’s going to be much fun.
What’s next for Paramida?
More exciting releases. More gigs and label events. More green salads.
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Creative Direction & Styling
Behnam Samrad
Photographer
Karlo Hecimovic
Make Up
Gianluca Venerdini