From Listgeeks #11:
Steven Ford (aka Bruno Pronsato) is a post-punk inspired techno artist who has been releasing electronic music on various labels ever since his 12″ debut, “Read Me/Silver City,” in 2003. Originally from Texas, Pronsato spent several years in Seattle before moving to Berlin in 2006 to concentrate on playing music full time. . . .
Listgeeks: One thing I always enjoy about your music is that things tend to be just a little bit “off.” Can you relate to that in any way?
Bruno Pronsato: I think working in techno/house (or whatever form of dance music you call your own), you’re pretty limited as far as looseness is concerned. Mainly, the object is to make people dance, and to make that happen easily you need to make your tracks “tight,” so that the DJ doesn’t have a difficult time mixing your track with the others. I have never really subscribed to that idea – I’ve always put a bit more importance in making what I make musical – at whatever expense. Being a drummer, a lot of the fun in creativity is making rhythms a tad different than the expected. A skipped beat here, a slightly misplaced snare there – coming from a rock background I’m not so tied to the idea of completely making things easy for a DJ
LG: Before you started releasing electronic music as Bruno Pronsato you actually played drums in a number of punk/hardcore bands and were strongly influenced by experimental indie music. Would you say you still draw inspiration from your musical past? What other sources of musical inspiration influence your sound these days?
BP: I still visit my punk roots, though it is a bit difficult to get into some of the hardcore I once enjoyed - I guess I’m just not that angry anymore. I still very much enjoy the more no wave/experimental stuff (if you can call it that) Gang of Four, DNA, James Chance, etc., and of course the sounds of My Bloody Valentine and the noisier side of 90s rock. These days, though, I’m listening to a lot of classical stuff – I’ve been really into listening to these gigantic arrangements and focusing on themes more than straight four bar melodies - I would like to get to a place like that some day.
LG: How would you say moving from the U.S. to Berlin has affected the way you work?
BP: Well, I think having such a huge amount of support from the European side (in general) has done a lot to advance whatever musical vision I might be chasing - Berlin has such a gigantic support system. I guess I have felt more of an ability to experiment. When you are in the U.S. making this music, you tend to look at what is ‘hype’ to sort of make out the direction of club culture, and that’s not really a good thing. Berlin is sort of it’s own world, and in many ways, the world now sort of looks to Berlin for the direction of club music (or it used to).
LG: It seems like the human voice (not singing necessarily) has grown to be a key element of your signature palette. Would you agree? How would you describe your use of the human voice in your music?
BP: I would definitely agree. I think I am trying to use the voice more as an element to slip in between spaces: fragments of words, breaths and on occasion full words and maybe a note or two…when I’m feeling really adventurous.