Davis IMG_3273 | LIQUID YOUTH

Davis’ music is a shot of refreshing air that hits all the right spots! Following the release of his split EP on Fort Romeau’s Cin Cin label and track contribution to the latest installment of Permanent Vacation’s V.A. compilation, we fired some questions across the Brazilian man on a mission.

After a somewhat quiet year production-wise for Davis, the São Paulo based virtuoso turned on the heat last month with two rad outings on Cin Cin and Permanent Vacation. Covering the B-side of Cin Cin’s latest split EP installment, he embarks on a tasty journey through dramatic marimbas, 80’s synthwave aesthetics and high energy motor city melodies, shaping a beautifully coherent bridge between his diverse set of influences.

With an especially exciting month behind him, Davis talks about his latest outings on Cin Cin and Permanent Vacation, being 13 and throwing parties at his friend’s garage, vintage studio equipement, influences and connection to Fort Romeau, as we fired some questions across the Brazilian man on a mission. Grab your copy of Time Of The G’s / Clone Heart here.


Welcome Davis, good having you here! First off the usual icebreaker, how have you been and where do we find you today?

Hello guys! I am doing great, today I am walking down the streets of Paris, fresh food and fashion as always. Tomorrow is my last gig of 6 overjoyed weeks playing around Europe. And I can tell it’s getting better every time.

This month is an exciting one for you, with a split EP coming out on Cin Cin, your track Fragments” being part of the forthcoming Permanent Vacation compilation and joining the Hemisphere Agency. Must feel good?

Oh yes! I’m very grateful and happy to say I have a lot to celebrate. Some years ago, I was dreaming of working with these amazing people, labels and agency… and now, here I am. I’m feeling very proud also. You know, you don’t easily see a Brazilian artist pushing the boundaries and getting heard, although we have a lot to say with our music. The usual thing to notice is a great number of international artists looking to play in Brazil and Latin America. I am glad to see things changing now.

So, let’s dive straight into your record on Cin Cin. Following last year’s EP releases on Live At Robert Johnson and Endless, how did you approach this new record and can you tell us more about its development over time?

This was the most diversified year in terms of sounds and experimentations in my studio work. I managed to create much more and in a more varied manner. I got to discover new sounds, devise new processes and make the production even more interesting for me too. Moreover, it was the year in which the political side of life permeated my work a lot more. Facing the whole process my country has been going through, with such an awful result of our presidential election, I couldn’t refrain from expressing a little bit of my feelings through my oeuvre. I’ve learnt a lot this past year. In fact I cannot wait to go back to the studio when I return to Brazil.


On title track “Clone Heart” we hear some unmistakable influences of the 80’s style synthwave aesthetic. Tell us a little about your connection to that time period and the music it brought with it?

The universe of synthesizers has always attracted me since my childhood. From film soundtracks of sci-fi and horror movies to video game music and effects. Those days I had no idea about Vangelis or any other music producers, the only thing that I did know was how much I loved those sounds, how those sounds were good for my mixtapes, hahah.

I remember being 13 and throwing parties at my friend’s garage, I used to prepare a killing sequence, haahahahah. Nowadays I don’t listen to a lot of synthwave, my research goes towards more experimental sounds, but I love the 80s hits and my passion for vintage synths and drum machines is just getting deeper everytime….

With “Delusions” you take a more straightforward approach with a Detroit inspired jam that leans heavily on jazz chops and motor city melodies. Where does the Detroit influence come from within your music?

I started to buy records in the late 90’s/beginning of the 2000’s and, for me, the “must-have” records at the time were signed by Chez Damier, Ron Trent, Blake Baxter, Marcellus Pittman, most of them Detroit producers. Also, when I started to play with some of my good friends, Ronald, Mauricio UM and Andre Ribeiro, they shared so much information and knowledge with me, giving me a solid direction to pursue.

I started to produce my own parties in the beginning of the 2000’s and the gay scene in Sao Paulo had (an still has) a fucking good taste for electronic music. They taught me a lot about music. So, Detroit House Music has always been inspiring for me. Come to think of it, I remember that one of my first records was from the Motor City’s rich musical heritage.


I’ve to say, both tracks fit perfectly into the Cin Cin catalog. Where you already familiar with label heads Michael and Ali on a personal level before the whole idea of a release came into the picture? And how did the two track find their way onto the record label?

Michael was one of our first international guests at our ODD project. He came to play at one of the infamous editions that we usually hold in January, where we prepare a special event to kickstart the season (Brazilian summer) and to celebrate my birthday. In that occasion, the international guests were Fort Romeau and Tobias. It was one of the first times that one underground and independent (illegal) party managed to bring two important acts at once to Sao Paulo, occupying an abandoned building. I started to follow Mike and the label as well as play some of his tracks. After one year I started to send my music to him …  and here we are now.

There is a particular story behind it. First the label had chosen two different tracks …. Everything was set, the record had a release date. Then Michael told me that Pional was going to be on the flipside of the record. I was thrilled. Nevertheless, I kept sending more demos to him, about 6 to 8 new tracks, and at the same time I was thinking: “these new tracks are so good… it would be so cool if I release them this year”… and boom! After one week he wrote to me, felt as he was reading my mind, asking if it was ok to change those tracks for two that were in the new pack I sent. For me it was a nice surprise. I believe it’s a good combination between my music and the label’s direction. Needless to say, I’m feeling very proud and grateful for this record.

I’m very interested to hear what your studio setup looks like at the moment. Any piece of gear in there that you’ll never get tired of and stands at the base of your recent productions?

I share the studio and the gear with my partner in crime, Pedro (aka Zopelar). And we have a lot of vintage stuff, Juno’s 60 and 106, 808, 707, Arp 2600, and some new stuff here and there. I can tell you that Pedro never sticks with any gear for too long, lol…. I have more of a classic approach: I prefer, most of the time, to use the same set up: 808, Juno, 303 and Arp. It works also in maintaining the identity throughout my output. But this year we started to use the new AKAI MPC, and to be honest, I’m in love with it, as it made our process faster and more fun.


Next to the release on Cin Cin, your track Fragments” will hit the shelves November 23rd, as part of the Permanent Vacation 5 compilation. Tell us a little about that track and how it found its way onto the compilation.

Well, “Fragments” is one of the tracks created solely on the MPC from samples I recorded. Before sending it to the label, I played it out a few times and got some good feedback. My partner Vermelho told me the track was working well on the dancefloor. So, I gathered the courage to send it over to Permanent Vacation and I got really surprised with their answer.

As with “Clone Heart”, “Fragments” carries some of those synth arrangements reminiscent from the 80s. Is that a sign of things to come, or just a personal mood your exploring at the moment?

It’s more about a personal mood at the moment, it was a very organic creative process. As I mentioned before, I love the sound of the 80’s but I cannot see much more of its influence besides the tones. That’s exactly what I want to avoid right now: today I want my music to explore and take the listener with it, much more akin to the way I experience music itself… Of course, for whatever reason, this particular element can eventually appear again and again… lol!!

What inspires you outside music – be it watching movies, reading or long walks into the sunset?

The silence inspires me a lot. I’ve been reading about it, spending free time amongst the nature, in places where silence is embraced and it embraces you. I’ve just made a trip to the border between Finland and Norway and it was one of the most replenishing experiences I’ve ever had. A real chance to listen to my inner voice.

I also go often to art exhibitions, it’s likewise a place I feel connected to myself. An opportunity to understand the way I “read” the work of other artists. What mainly intrigues me what those artists are trying to express through their work.

What’s on the horizon for Davis?

I am always like “What can I do to bring something new to the table?” So, that being said, you’ll have a lot to see & hear, you just have to wait a little.


Grab your copy of the Time Of The G’s / Clone Heart split EP via Phonica, Juno and Beatport.

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