This coming Friday, January 13th, All Day I Dream will be releasing their latest EP courtesy of Argentinean recording artist Leo Grünbaum aka Grünbox.
Hailing from Buenos Aires, Grünbaum now lives in Berlin, where he has been putting his Berklee College of Music training to use, producing instrumental deep house tracks heavy with emotional chords and dreamy vocals. His Amarone EP is a testament to his classical training, a 3 original 1 remix outing filled with symphonic elements and super intricate, lush soundscapes.
Since 2010 he has toured the globe, collaborating with fellow artists including Alex Under, Matthew Dekay, Guti. Following successful releases on Trapez Ltd, Desolat, Lucidflow and more, Grünbaum is the latest artist to join the All Day I Dream as of January 2017, merging the vision of his Tech House act Grünbox with the lushness of a new sound.
Listen to two of the tracks from the forthcoming EP below. You can purchase the digital release, which is rounded off by “Amarone” feat. Victor Magro, and the Safa remix of “Bloom,” via Beatport.
We had the chance to talk with Grünbaum about his musical upbringing and educational training, as well as his new family at All Day I Dream and more:
When and how did you first get in contact with music?
Music has always been a huge part of my life. My maternal grandmother trained as a concert pianist and my paternal grandfather was an avid fan of classical music. My parents inherited that love — adding tango, boleros and French singer/songwriters to the list. But my first love, instrumentally speaking, was drums. After banging on pillows for years, I convinced my parents to get me a drum kit when I was 14. I started taking lessons, met some older kids who had a band, and ended up in one of the biggest metal groups in Argentina. I spent six years touring the country, then went to music school in the States.
How did that then turn into love for electronic music? Do you remember the first time you decided it was a path you wanted to explore?
When I got to Berklee, I intended to study drumming — but one semester in, I broke my hand. Funny how these things happen. I’d always loved dance music culture and, even with the metal band, I was in the control room, mixing and producing. But it wasn’t until Berklee that I got my hands on a sequencer, set up a home studio, and began producing electronica. The possibilities for fusion, the sounds and instrumentation: the genre was a revelation. For a metal drummer with a passion for Debussy, electronic music felt like home. This all happened in the midst of the digital recording revolution. Converters, sequencers, synthesizers: it all suddenly became accessible. The only real limit on what you could turn out was what you could dream up.
You’ve moved to Berlin, where you live now. It seems like the choice many electronic music artists in house and techno are making these days. Do you feel like it helped your career? How so?
It has. Just before I moved, I spent four years touring with the techno live act Grünbox. I’d use Berlin as my base camp during the summer season then return to Buenos Aires to compose. It’s one of my favorite cities: the tolerance, the pace, the bicycles. And of course the music. Living here since 2012, I’ve met incredible people, both from the creative side (an endless source of stimuli) and the corporate side of the industry.
You’re classically trained and play several instruments. Which ones?
Guitar, bandoneon, trumpet, piano: you name it, I can play it (or fake it). I’ve always had this obsessive need to “crack the code” of an instrument. Understand its architecture, be able to express something beautiful with it. But there’s always been a meaningful difference between a performer and a composer. Stravinsky, one of my heroes, was by no means a talented instrumentalist; he composed many of his greatest works on an out-of-tune piano. My passion is sound: once I understand how an instrument works, the emotional tone of its voice, I can use it to say something meaningful. That’s all I need.
Your sound incorporates electronic, symphonic and jazz elements to fantastic effect. Do you actually play any of the instruments when producing your tracks or do you still use software these days?
I play and sequence almost everything. Here and there I’ll use a sampled loop or an element that sets a particular mood, but I like using live instruments. A mic, a preamp, the uniqueness of any live recording process. I am in no way a dogmatic purist. The quality of sampled instruments these days is outstanding, so that’s a plus, particularly when you work on your own and don’t have the budget for the Berliner Philharmoniker! If I’m on the road I’ll just open my libraries and use my keyboard to “play” whatever instruments I need.
You just joined the All Day I Dream family after years of releases and collaborations with artists such as fellow Argentinean Guti, Matthew Dekay and Alex Under. Why is ADID the right musical home for you?
It’s the perfect place to bring together my years of musical training with my experience on the dance floor.
Can you tell us a little about the artists that influence you today?
Aphex Twin is a trip every time I listen to him. Matthew Herbert and his elegant approach to composing and sampling still gets me. Stimming’s sound and his production techniques, Bjork’s fusions and reinventions, the way Nils Frahm extracts unique sounds from the instrument he loves and the technology he’s mastered.
Your latest EP is coming out on ADID on the 13th. Where did you produce the tracks?
I started “Amarone” in New York with my old friend Victor Magro. The other three tracks I produced here at my home studio in Berlin.
Was there any particular inspiration for it?
Mainly a personal search, a desire to create music that was challenging, intricate, filmic, a project that draws from the things I’ve studied (composition, orchestration, production) and the things I’ve learned on the dance floor.
Can we expect you playing any ADID parties in 2017?
Yes! That’s the plan and I couldn’t be more excited!
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