Yves Murasca takes us Inside his new 'Right On' Track

Déepalma head honcho Yves Murasca is steadily becoming a more and more prominent figure in the scene and once again drops an absolute winner, ready for the sunshine. The German has taken his music to the likes of Kittball and Milk & Sugar and this month returns to his own Déepalma for the atmospheric ‘Right On’ – the perfect soundtrack for those Springtime sets and already being supported by Mark Knight, Daniel Bortz, Mihai Popoviciu, Economist, Alberto Blanco (Ibiza Sonica), Lane 8 (Anjunadeep), Roger Sanchez, Hector Romero, Wankelmut and more. For this one, he’s recruited Hamburg duo Piemont, regulars on Lapsus, Glasgow Underground, Toolroom and Exploited for a moody Tech/Electronic remix whilst Déepalma’s Juloboy lays down the second mix, diving deep for a tasty balearic take on Murasca’s work. We caught up with Yves Murasca to celebrate the release and find out more about his production on the record..





Congratulations on your new release. How is it being received in your sets? & How are other club DJs responding to the release?

Hey guys, thank you very much! I am super excited about “Right On”, as I have received so many great reactions. On the one hand when playing it in my sets, on the other hand from the deejays that have already received the upfront promo. Interestingly support is coming from totally different directions: From the house heads equally as from the more underground orientated artists. It looks like I am reaching a broad range of people, which makes me really happy. I am also very thankful for the great remix work by Piemont and Juloboy who all added their very own spice to the release. I think everybody will find the perfect match for his or her sets in this mix package.


Tell us more about the track. What was the main inspiration behind it and what prompted the musical direction on this?

Basically I wanted to create something warm and summery, yet clubby with a moody atmosphere. It should sound slightly deeper than the solo stuff I have released before – simply a track that you can enjoy on diverse occasions: in a club, at the beach, in a bar or in the car.


Production wise, what is it about the track that makes it work?

That is a good question. I would say it’s probably its simplicity. During the whole production process the arrangement was much fuller, I had way more vocals, effects and even the beat structure was much more complex and complicated. It didn’t work that well at that time. I left it aside for a while and occasionally listened to the test bounce to think about what would improve its effectiveness. During the Christmas holidays I then wanted to have another go for it, and when I opened the session I immediately knew what to change. I found out that I simply had to clean it up enormously by muting a lot of stuff (especially certain parts of the vocal), do some fine tuning on the groove and the final version was born.


What is the one machine, program, sound, drum machine, technique that characterizes your sound?

That is difficult to say as I think it’s not about what you use in your productions but more how you use certain machines and plug-ins. Sound wise I would say that the complementary use of digital and analogue ways would characterize how my productions sound. When initiating a new track I usually first do all the creative work in the box, starting with the search for samples, playing lines, programming beats and doing arrangements in LogicX. When I am happy with the result I would then move over to work on the sound design and look for sounds from out of the box that can add more quality to the track. In “Right On” for example the sub bass originally has been a preset from a standard Logic plug-in and was then replaced with an Elektron Analog Four sound. So basically you could say, my tracks are always a mixture of in and out the box, which probably characterizes my sound the most.


What is the one piece of kit that you simply cannot do without?

I really love the Maschine and the workflow in it. Some element of all my latest productions would always come from this magic box. I also love Korg’s M1 and Alchemy, which I both used in “Right On” as well. M1 for the Organ sound, Alchemy for the arpeggio in the breaks.



Any advice for your fans on how to make it in today’s fast-paced game?

Never give up and enjoy what you are doing! The route is the goal.



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