interviews to Structural Fault

The personage interviewed today comes from Argentina and is a member of the genre IDM/industrial. Welcome on Vox Empirea, sarco, better known as Structural Fault.

> It is an honor for me ... thank you very much!

We don't know many infos about your artistic biography and even less about your musical evolution began in 2007. Could you illustrate us better the past and the present of Structural Fault?

> My musical past is in my memories. Is not long ago that I devote myself to music programming: from early childhood listening to electronic music (the counter-culture), because in the seventies all people listened to a lot of rock and roll. In my teens i formed a project with a friend, it was dedicated to experimental music. The project was called "Keyboard", but over time the dream is gone. Already in 2006 I became interested in music achieved by softwares, I purchased my first computer, in the year 2007 here is the beginning of Structural Fault, released my first demo early, called "Without Parameters", then comes my first EP "in Coma" published by Another Chance Records. Here is all, the past and the present.

You define your electronic style as "apocalyptic/futuristic". Is really this your personal view of the world that awaits us?

> I think we all have a personal vision of seeing things, the world's future will be equal for all, whether good or bad. Not now believe in earthly paradise and apocalyptic messages.

And then, what is the message that you entrust to your music? Through it, do you want to reach and awaken the human minds before it's too late, or are you resigned to the future annihilation the most part of the lifeforms on a planetary scale?

> My music is only an optional display, everyone has the switch in his hand, that's who choose to dream, imagine, play and stop the message.

Your debut album "Intro/Version" explicitly communicates a sense of oppression and unrest. is this the sound we will listen to in the wind during the long period post-apocalyptic?

> This version is the way things feel introspective. With my music I can only explain their images.

Technically, what is the starting point from which you begin when you composing a track? Do you concentrate yourself initially on the rhythmic structures, or you choose immediately the design of the melodies?

In principle to work much with pads and environmental atmospheres, then I dedicate a special time in the rhythmic structure, processes, filters and more. And last, usually, I treat the bass lines and the melodies.

You are part of the ensemble of artists signed by the Slovak label Aliens Production. Do you find that it is perfectly adequate to represent your style?

> Be in the clan of Aliens Production makes my music has an important value. They gave me a place and I feel infinitely grateful to them, while Robert Ryby likes my music. It's all perfect.

What are your feelings about the alternative music situation in Argentina and in particular the one relating your own gender? Do you note that there is a satisfactory interest from the South American's audience or your style is better recognized in Europe?

> Here in Argentina electronic music is not widespread, except for projects that are super Popular and sound on the radio, anyway it really dominates the music market in this country, Latin pop and rock in all its styles and subgenres.although I recognize that there are people who take an interest in minimalist electronic music, but few, among them is Paul, manager of (Abstrakt Reflections), record label and platform of great importance in IDM music.

Who are the music myths that inspire you? Are there substantial differences that distinguish Structural Fault from meny other members of the IDM/industrial area?

> Myths that would not be in this list ... because they are very many! But I could mention the names of Jean Michel Jarre, Kraftwerk, SPK, Skinny Puppy, Joy Division, The Cure, Dive, Front Line Assembly, Aphex Twin...although it is very difficult to make a difference, I mean in musical terms, all want to achieve the unique sound and be different from others. Today it is very difficult to stop being a clone, so that's it, all done! Anyway, I think that many artists work technically with the fusion and recycling, but basically by focusing on our personal style, I think the listener is the best critic to make a difference.

Have you already in archive some new tracks to put on your next album? Do you mean that its future content will be similar to those heard in "Intro/Version"?

> I am writing for my next work and I am very excited about the new things I discover. Perhaps, it should be my curiosity or the personal taste I have in the avant-garde music, they are all elements that make me feel inspired to bring steadily some changes on the music structures.

Speaking in economic terms, is it very expensive to compose and produce music individually nowadays? Equipements, softwares, distribution and advertising. when you

working in the underground music industry, to support the costs are always a big nuisance Isn't so, Sarco?

> In economic terms, actually I have to decide whether to buy a car or invest in my musical future and this is very expensive here in Argentina, given that everything we import, but hey, things happen that way! I know I am not alone in my country with this problem, the most important of these is the support of the people around you and the rest is willpower and a constant sacrifice.

With a bit of self-criticism, what would you improve your style?

> I acknowledge that I have to keep improving in many things, about the sound. I think at this point, I have much to learn.

I thank you sincerely for having honored us with your presence, Sarco! Now the readers of Vox Empyrean ask you a thought entirely dedicated to them...

> Thank you very much for your interest Maxymox and for your great support. It was a great pleasure this interview.

* (by Maxymox 2012)