A musical force to be reckoned with at the tender age of 21, Brazilian producer Pazes is the kind of artist that makes you feel old and talentless. While most of us spent our formative years engaged in the unsavory activities that come with the age, Pazes is perfecting a craft that was first recognized on Southpaw, which he released under Mexicans With Guns’ Exponential Records imprint. He worked his way into the esteemed Red Bull Music Academy in 2011, an institute that has groomed artists like TOKiMONSTA, Flying Lotus, and Teebs.
These are the kinds of musicians that have had a profound influence on Pazes’ own sound, and as he matures, it only gets better and better. Pazes performed at the Rio de Janeiro festival Novas Frequências at the end of last year, and this year at the São Paulo edition of the acclaimed Sónar festival.
Pazes newest release is Limbo, an independent work released he dropped earlier this summer. You can hear the EP in full below, and while you’re rocking it, check out our interview with him below the player.
The Creators Project: You’re currently in Berlin, a city with a rich culture of electronic music. How is that influencing your production? Are you listening to a lot of techno music?
Pazes: I’m not sure yet how being here is influencing me because I haven’t produced much since I got here. For now, I’m seeing friends and places, you know, just living a little bit. I came to Berlin more because I wanted to get out of where I was than for being interested in the scene here, though it really is very rich. Eventually I’ll end up more integrated, going to clubs, going to the studio with some people, and then I’ll find out what has really changed.
What are your major influences right now? Not just in music, but in general: art, cinema, literature, etc?
I’m really looking up to people like Louis CK and George Carlin. Not just for what they have produced as art, which is obviously amazing, but for their philosophy and ethics, which involve never recycling anything—just create, throw away, and create again. I totally agree with that saying that sloth and impatience are the two illnesses that can take to all the others, and I see nothing of that in people like them.
How was your experience at the Red Bull Music Academy in 2011? Like Berlin, Madrid has one of Europe’s most prolific electronic scenes. Did you get into it? Did you meet a lot of people there?
It was one of the most important things that has ever happened to me. I learned more there than in any other place or time. It’s hard to talk about Madrid as a city based on this experience, because in the middle of so many engagements with RBMA, we almost don’t have the time to get to know the place, but from the little bit I’ve seen, I have nothing but good memories. I hope to go back there soon.
Even being so young, you have released two EPs that showcase mature productions with remarkable sensitivity. How do you see them in the context of DIY and so-called bedroom music?
I think that, at this point, those labels don’t matter anymore. It’s so affordable to make music that it doesn’t make sense anymore to analyze what resources are available or to be excessively proud for making the whole process by yourself. 90% of interesting music that I listen to today is made by some kid with good ideas, a laptop, and not much more.
How was your performance at Sónar São Paulo? Do you feel comfortable with live performances and the possibilities for improvisation that this kind of show can give to you?
It was really good to play at Sónar, certainly one of the best gigs I’ve ever done. From an artistic perspective, I don’t feel comfortable live at all. I want to redo my live set from scratch as soon as possible. But personally, I always have fun on the stage. I dance stupidly and more and more I get to do what I feel like doing in the moment.
Is there anything new coming soon?
Yes. Some projects. I can’t talk about some of them, and others I just rather not talk about, but there’s stuff coming.