“My music doesn’t change for better or worse, but it’s made with a different perception of the moment, and it’s always in flux.” This is how the brilliant young Italian music maker Herve Atsè Corti, aka Herva, new hire of the legendary Planet Mu, explained the title of his album “Hyper Flux”, an excellent album that will delight all the fans of the declension of electronic music that Paradinas’ label typically pushes. Let’s get to know this smart guy better.


Chain D.L.K.: Hi, Herva… or Hervè! How are you? How do you prefer to be designated?

Herva: Hi, guys, nice to meet you. I’m fine, and feel free to call me Herva.


interview picture 1
courtesy of Chiara Sinatti

Chain D.L.K.: You might be the first and only Italian in the renowned Planet Mu squadron, right?

Herva:  Nope, actually, I’m the second one. Check for Polysick; he’s made some really great music, some of released by Mu.


Chain D.L.K.: You’re Italian, then, but your name doesn’t seem to be Italian…

Herva: It has francophone origins.


Chain D.L.K.: I read that the very first approach to electronic music came after the squeezing of Fruity Loops, is that right? Can you tell us something about that stage of your path?

Herva: Yes, you’re right, FL was the very first program I put my hands on. It has been a while, but I remember that I liked smashing some hardcore and trance on that piano roll, ahaha. I had that vision of music, but I was having a lot of fun!


Chain D.L.K.: Do you keep on using the FL Studio? Are there any software tools you’d like to recommend to folks who would like to start playing with electronic grooves?

Herva: No, I quit FL many years ago… Anyway, I don’t feel right recommending anything; it really depends on your workflow. Every day has its key points and weaknesses, but at this point differences are minor and it’s just a matter of taste.

If I should recommend something, I would suggest keeping an eye on open source software, too. They may be less fancy and with shitty GUI, but most of them are really good and communities around them are always willing to help each other.


interview picture 2
courtesy of Chiara Sinatti

Chain D.L.K.: Before Planet Mu, your releases came under other excellent labels… Do you think it depends on the fact that your music could fit many of them, or did the labels you were signed into influence your sound somehow?

Herva:  I produced a wide range of music during these years, from downtempo/hip-hop stuff on Bosconi to nasty techno on Delsin, to what I’m up to now and so on… I always have been free from being influenced by labels.

Which tracks they decided to use for a release really depended on their personal tastes; I keep on my path.


Chain D.L.K.: We focused on software in the previous questions, but were there any artists whose listening pushed you towards what you forged in recent years?

Herva:  Of course, a lot of artists have helped to shape who I am. Back then, I used to listen to a lot of music, but in the last years I’ve mostly listened to my music.


Chain D.L.K.: Can you explain to our readers your randomness-driven compositional approach?

Herva: It’s difficult, since the randomness order people feel, to me, it’s order. Anyway, I haven’t a modus operandi; I like to experiment. I use to change my set up a lot, to trick myself, to hack my stuff, etc., just to have fun, but of course, it reflects on what I produce. Sometimes I use generative techniques, and this may be considered random-driven too, but it’s not.


Chain D.L.K.: Did it change over years and albums?

Herva: Yes, a lot.


Chain D.L.K.: You used some samples from African chants and traditional music in Kila, whose title itself is the word for ‘Everything’ in Swahili. Someone keeps on considering the interbreeding of African music and electronics as a somehow forced process… Any words against such an opinion?

Herva:  No, anyone is free to express his opinion. No problemo!


Chain D.L.K.: Did you use samples in Hyper Flux as well? If so, are there any that are pretty unrecognisable?

Herva: I must have used some samples, but I really don’t remember sources, sorry.


Chain D.L.K.: Many moments of Kila and Hyper Flux reminded me of the sonic strategy of an album I adore, The Orb’s Orblivion, to me… Do you know that release? If so, would you say my musical memory is pulling a prank?

Herva: I’m sorry, but I’ve never listened to that album.


interview picture 3
courtesy of Chiara Sinatti

Chain D.L.K.: Any track(s) in Hyper Flux that made you break a sweat during editing? If so, why?

Herva: I figured out a nice workflow, so editing is quite smooth at the moment.


Chain D.L.K.: Some tracks have somewhat bizarre titles… Can you comment on some of them and the relation to their aural content?

Herva: They have encrypted meaning, but I’ll keep it for my self (:


Chain D.L.K.: Have you performed Hyper Flux on a live stage yet? Any chance of seeing you around on the stage of some summer festivals?

Herva: Replicating it live would involve my set up, and I don’t like to travel with my gear, especially custom stuff, since it’s not designed to travel and it’s quite fragile. I’ll work on my live show later this summer, but I won’t definitely stick with the past… Replicating album tracks live is not fun to me. Anyhow, I’ll play some festival as a DJ, and you can catch me at Dancity and the Lattex+ festival in July.


Chain D.L.K.: Any work in progress?

Herva: Yep, I’m building my new mixing console. It has been a heck of a lot of work, but I’m almost there…

I hope I designed it right!


visit Herva on Bandcamp at: herva.bandcamp.com


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