Daniel Troberg
by Mister Mime
5th July 2021
Daniel Troberg is an LA-based producer, DJ and Dublab radio host, with over 2 decades of experience in the world of electronic music. His recent release ‘Cracker Jacks’ which is out on experimental electronic label and multidisciplinary arts collective ‘Detroit Underground’ is a bold and edgy techno-esque jaunt that manages to hint at and even draw out a subtle sense of humour from the realm of machines. His extensive background of computers and hands-on knowledge of noise-making machines like the Eurorack Modular, Octarack and Hydrasynth, the latter two of which he has been directly involved with, has put him in an effortlessly commandeering position when it comes to making circuits sing, shriek, bounce and bobble at his will.
Daniel has also just put out an ambient album “Cold Entry” which shows his depth and versatility as an artist. He says this about the record: "These songs explore aquatic themes through slowly moving, lightly distorted, vast, noisy and sometimes melodic soundscapes. Water, depth, and pressure have been the main inspirations for this album." Being an avid scuba diver, he has masterfully translated the underwater diving experience into a truly immersive soundtrack that is quite contrary to, and yet reciprocal & synergetic to ‘Cracker Jacks’.
MM: Why is the EP called “Cracker Jacks”?
DT: It’s the title track, couldn’t really think of any other name for this release, so I made it simple.
MM: Are there any stories behind any of the tracks or the making of the EP that you would like to share? {Also, “Risyl” - what does it mean?}
DT: I sampled some guy in a video who was really into his Cracker Jacks (American candy) so that inspired me to finish the title track in question. I have material sitting since the 90s that I revisit now and then and I tend to pick sounds, samples, and themes as they come along. I like it when things come together later on, it means concepts connect over time. The two remixes of the track 1000 are in there too. The original track hasn’t been released yet. Might do vinyl on that one, let’s see.
About Risyl, I wanted something that sounded like it could be really important, like some kind of medicine or expensive material, but in reality, it’s just nonsense. When I didn’t find anything on Discogs with that name, I knew it was the right name. So it means nothing. If you google it, it’s some sword or fantasy thing I think. Risyl is on a limited vinyl release also, but probably very hard to find.
MM: Can you tell us about your musical background and journey so far?
DT: Started with computers in ‘83. Learned some Basic language along the way and made small melodies using code. Messed around with the reel-2-reel and turntable we had at home. Played computer games. MSX, Spectrum, C64, PC. Listened to as much music as I possibly could, to figure out what I really liked. Played the trumpet for a bit. Got interested in DJing and music technology as the 80s approached the 90s and bought a crappy Roland synth and then a Gravis sound card, which was great. Figured I liked sampling the most. Bought proper turntables in 1994, still have them! I and my friends arranged raves from 1994-1996 on Åland.
I stumbled upon the SidStation synth online in 1998 and got involved with a company called Elektron in 1999. Ended that relationship in 2019. Started a label called Electromechanix in 2000 and did 10 vinyl releases. Played records and did live sets all throughout. The label death of the early 2000s ended the label project. Got dubbed the Octafather by someone online, because of my heavy involvement with the Octatrack. Took a break in 2019 and met up with some really nice people in Hong Kong and got on board with them, now doing sales and marketing for ASM, makers of the Hydrasynth. All in all, I turned my hobby into a job. A complete music tech-focused journey that’s still going on. It comes naturally for me, no pretending, no force.
MM: Can you give us a glimpse into your music production process? It could be something that you consider to be the main or a unique aspect of your process, some techniques you like to use, go-to instruments, or any other angles to your creative process that you’d care to share.
DT: No set method. It varies, as it should. I tend to do two things lately though, I either start out with some synths and drum machines and record things into a mixer that does separate channel recording so the computer isn’t involved, or I fire up Ableton, go full-on computer, and work with M4L and plugins. In both cases, I get to a point where I have a multitrack recording and that’s where I go into ProTools and edit until I have something I like. I always edit in Slip mode, I never do quantized editing. I like to listen and arrive at results by ear.
MM: How do you go about the sound selection or sound synthesis for your music? Especially since in the realm of Experimental/IDM, there are really no rules or templates at all as compared to other types of music. I am curious as to how you compose, arrange your tracks
DT: Again, no set method really. I use a variety of stuff. I’ve been selling and buying gear since 1990 so I’ve been through a lot of synths and drum machines etc. I do have some favourites of course, but it also changes a bit. Sometimes I get tired of gear and sell things. There are so many options these days, including soft synths on your iPhone. I have some old synths from the late 70s and new things like the Hydrasynth and of course all the Elektron gear and then some. I still use my MPC4000, it’s fantastic. The old Rolands too, 303, 606, 202 etc.
For sound selection, it just happens as I’m composing. I don’t really sit and make sounds one after the other, I really like composing. So the sound design or whatever we call it usually happens in the moment. I don’t really separate composing and sound design, I think it’s pretty much the same thing. It happens in parallel.
MM: Can you talk briefly about the various projects that you are involved with: i)Dublab & ii)The HyrdaSynth with Ashun Soundmahines
DT: I and a friend Johan did radio on Åland in 1994-1995. I then had a long pause until 2007 when I did a couple of shows in Sweden. When I moved to Los Angeles, I got in touch with Dublab and I got a slot there, been doing my show Transition since 2017. It’s basically me airing my record collection but also keeping track of new music. These days, there is so much music. I always try to force myself to look ahead and into the future and getting promos of new music is great as it forces me to stay alert. Dublab is a wonderful non-profit organization and they provide me with a platform to do what I want. My intention is to grow it further at some point. I keep track of all the music here: www.transitionondublab.com
I met the fine people of ASM in 2019. My friend Glen Darcey who has worked on tons of products at other very well known synth brands connected me with the Hong Kong team. It was just meant to be. It’s important to work with people you like. The Hydrasynth is a fantastic piece of gear also and it just clicked, a perfect match. Shouts out to Glen, Fanny, Dom, Ken and Chen!
MM: Who/what are your biggest musical and non-musical influences? (Musicians, artists, things, places, people, etc. that inspire you)
DT: Simply put, I like the music of Prince and Kraftwerk. I like the combination of loose funk, strict mechanical rhythm and simple melody. For me, that combination will always be magical. I like sounds in nature. And I get inspired by pounding sound systems in warehouses. Figuring out what makes a track tick is a hobby of mine. Music, like any art, needs to have a comedic element to it. For some people, music is so serious, and they take themselves too seriously. But for me, I see and hear the comedy in those two acts. Music is a game that through repetition gets perfected. A game should be fun, otherwise, no one wants to play it.
MM: Can you tell us about the album art and how it goes with the theme of the EP?
DT: No clue, Kero of Detroit Underground set me up. I’m not really into visuals. I’m into music and sounds. Someone told me the person who did the cover is famous. I guess that’s good. I picked an image, said, “yeah that’s fine”. Kero likes that visual stuff, he is a master at it. Shouts out to Kero!
MM: What do you like to do apart from music?
DT: Enjoy nature while we still have it. Scuba diving and being at sea. Cook, travel and explore.
You Can Follow Daniel Troberg on:
https://detund.bandcamp.com/album/cracker-jacks
https://danieltroberg.bandcamp.com/album/cold-entry
https://www.dublab.com/djs/daniel-troberg
https://www.instagram.com/danieltroberg
https://www.discogs.com/artist/1647383-Daniel-Troberg
https://www.ashunsoundmachines.com
All Images courtesy of Daniel Troberg
