Today, we’re speaking with Fernando Lagreca, an artist known for his analog-driven performances and genre-blending style, to discuss his new album, TIME. This reflective project explores the essence of time, merging influences from the \’90s and 2010s with a modern touch. From the dreamy guitars on “Nothing’s Ever New” to his collaboration with Josee Laika on “La Nuit Tombe,” Fernando crafts tracks that feel both personal and innovative. With his hands-on approach to music and dedication to mentoring the next generation of producers, he continues to shape the electronic music scene with passion and creativity.

You’re known for your analog-gear performances. What draws you to this type of equipment in the digital age?

Well, it\’s something that i always did, i mean, using analog gear, or better said, hardware gear, instead of using a computer when playing live. In the studio

I currently use both analog + digital hardware plus \’in the box\’ tools, like some selected audio + fx plugins.

What inspired your latest album, TIME? Was there a particular story or feeling you wanted to convey?

The album was inspired in one of the most strong words i know, that\’s precisely \’Time\’, it means not only the hours of the clock, it also means a precious value, means also

our lives, and what we do with that, so it\’s a concept that sometimes becomes strong, other times is a soft concept, or under valuated perhaps, but it\’s also something that we all pursue,

everyone needs time, as to needs air. It\’s about what we are and what we do, and how we stretch the good moments to make them bigger than the worst ones.

How has your music evolved over the years since you moved to Barcelona in the early 2000s?

Oh, there\’s been a lot of water under the bridge so far 😉 but, all in all, it\’s a matter of keeping up to date with technology and new sounds, all the time. I am very restless and always on the search for new stuff, checking, reading, etc… So my music and my styles are on the same trend. I feel bored sticking to one single musical genre, it comes with the day, sometimes i feel more techno, sometimes I feel more pop, other days I feel more jazzy, etc, etc… No doubt my music has evolved, of course, mostly due to adding new and more knowledgment in notation, harmonies, techniques, etc… that combined with the insane amount of gear and sounds available nowadays, makes a pretty much mega combo at least irresistible 🙂 

Your tracks often blend diverse elements like UK-inspired arpeggios and pop guitar riffs. How do you approach genre fusion in your music?

I love UK music, mostly pop, breakbeat, drum\’n bass, etc… that comes from my 90\’s, no reason to deny it 🙂 When i first listened to sounds from the likes of Orbital, Massive Attack, The Orb, Leftfield,

Roni Size, etc etc, i was shocked and excited at the same level, and those sonorities became very intimal and important, like my own original soundtrack in my own movie. I have to say that I never was very fond of guitars until the early 2000\’s, or mid 2000\’s actually… For some reason, I always found 90\’s guitars so noisy and sad so I did not consider them during the first years, then by the decade coming into its end, like 1997-1998, I accepted guitars again, but was definitely on about 2004-2005 when they became really important to me.

In TIME, you’ve tapped into sounds from the \’90s and 2010s. How do you balance nostalgia with a fresh, modern touch?

I believe that\’s something that precisely, comes with the time 🙂 If I may use this expression 🙂 When was composing the tracks for this album, obviously did not think about balancing the tones, or giving a moderate rate between modernity and nostalgia, i think that\’s something that simply came like that, maybe because both decades (90\’s) and late 2000\’s-2010\’s were definitely important to my musical taste and years in general in which i discovered a lot of talent, a lot of new records, new sounds, etc.

What can fans expect from the track “Nothing’s Ever New”? Does it explore the concept of cycles or repetition

Well, not like that, the track tells a simple story, of a boring stuff, of a trip that never happened, of things that create illusion. Musically is a pop song, with a bit of dreamie guitars and a chorus bass

that reminds me of some Peter Hook (New Order) vibes. Love this track, actually 🙂

How was collaborating with Josee Laika on “La Nuit Tombe”? Did you experiment with any new techniques?

I met Natalie (Josee Laika) several years ago in Barcelona, she formed a nice project along with another colleague and good friend (Vise), and her voice always captivated me. We collaborated already on other projects and when she sent me some tracks for me to mix and master, it was a tune which included the french vocal of \’La Nuit Tombe\’. Immediately i felt it was a super nice vocal lib, and at the same time i was finishing a mix of an instrumental track called Blue Dust, then i almost automatically imagined a mix between the vocal and my track. We chatted about the idea of including her vocal in the album and with a couple of twists, it was done. Was super easy and I love the result.

Which track on the album are you most proud of and why?

Mmmm… not easy to pick a favorite here, but if i should select some tracks of the album as a \’selection\’, i\’d say the most representative would be: \’Time\’, \’Constellation\’, \’Get Over You\’, \’Shapeforms\’ and \’Bending Game\’. I could have released them in a maxi EP or something perhaps and it will work, but obviously i prefer the full LP. 

You’ve performed everywhere from Berlin’s Ritter Butzke to Mumbai’s Nobo Experience. Which venue has had the most impact on you, and why

Wow! What a question 🙂 I think every single venue has something to give, and mostly the audience, with its diversity in each case, it brings always light, no matter if the party goes full club or empty room, the audience always deserves full respect no matter how, and for that, i always try to enjoy and make ppl dance in all cases. Of course, a venue such as Ritter or a festival like Sonar, or a streaming show like Hör, etc, that tick all the boxes, of course… But at the same time, to play in far regions like India or Latam, brings different cultures to the table, new people, new audiences, and all of them very eager to have fun and show love to the artists, therefore that love should be absolutely 100% give it in return, with us sweating in the DJ booth.

How do you prepare for a live set, and do you tailor your performances based on the audience or location

Even sometimes it\’s a bit tough to prepare exclusive live sets for each occasion, I try to adapt the selection based on the kind of public, venue, country, etc. Playing live sessions is completely different that DJing, there\’s less movement since it\’s all my own music with my own imprint so not a very wide path to move within; nonetheless, i try to adapt the thing as much as I can, checking past artists at the venue, or checking the type of collective arranging the party, etc, in order to offer my personal approaching with a twist based on each show, it\’s not fully tailor made but i can say that i make the try 🙂 And of course, since I improvise a lot in my live sets, there\’s no two equal sets even if I play the same weekend on a double basis.

What’s your creative process like when you start working on a new track? Do you begin with a melody, a rhythm, or something else?

Every song is different, when i\’m composing directly dance music (i mean, Techno, Indie Dance, Melodic, etc) I usually start with the rhythm + bass structure as basis, not like a template but more like

assigning first the drum sounds or checking tops + kick combinations, then adding bass, arpeggios, etc, like in the search of a groove that makes me feel ok. Then I build up from there. On the other hand, when I am composing tracks more \’for an album\’, under this perspective, well, everything can happen… Sometimes I start only with the piano, or just picking the acoustic guitar and singing a silly melody like \’camping\’ style and starting from that, then go to the computer and start filling the blanks…Other times I pick an old loop that I\’ve got in a forgotten project and ideas come to live, etc etc… In this album, I think I mixed all the methods 🙂

You teach music production and conduct masterclasses. What’s the most rewarding part about mentoring new talent?

Very interesting question, honestly it\’s absolutely rewarding to teach (or try to) new generations about what i love most, that\’s music, work in culture, work with artists, labels, etc. I feel it like a super responsibility and I am very happy to do it, it\’s extraordinary to see the excited they\’re are, the \’hungry\’ they\’re of learning new things, the attention they pay when you explain them about what\’s a booking, how an agency works, etc, and also when you can convey your knowledge in music plus the expertise on different projects, etc. Really fulfilling.

Do you have any hobbies or interests outside of music that keep you grounded and inspired?

I don\’t know if that\’s a hobby but I love swimming, going to the beach (fortunately I live very near the sea, in the coast) and also long rides with the bike. That helps me a lot, to keep the mind fresh and active, and why not be inspired. I never think that swimming or going out with the bike helps me to compose a track, at least, never think of it directly, but I am pretty sure that leisure time is also a good element in the way we work, and the way we are. So, yes, definitely, go for these \’hobbies\’ 🙂

What’s next for you after the release of TIME? Are there any new projects or collaborations in the pipeline?

I am still on the promo stuff for this album, so not big plans yet for upcoming projects. Got shows, of course and planning to present the tracks from the album live in festivals in the next Season, but right now I am not composing new stuff. Usually when I finish an album, afterwards i arrange some changes in the studio, adding new instruments, or new plugins, etc, So i am now in that research phase, I made some changes on the studio, checking some new stuff so maybe some gear goes out and some new gets in, etc, usual stuff 🙂 And I am pretty sure that more music will come very soon since I was already doing some new sketches with the guitar 😉

Today, we’re speaking with Fernando Lagreca, an artist known for his analog-driven performances and genre-blending style, to discuss his new album, TIME. This reflective project explores the essence of time, merging influences from the \’90s and 2010s with a modern touch. From the dreamy guitars on “Nothing’s Ever New” to his collaboration with Josee Laika on “La Nuit Tombe,” Fernando crafts tracks that feel both personal and innovative. With his hands-on approach to music and dedication to mentoring the next generation of producers, he continues to shape the electronic music scene with passion and creativity.

You’re known for your analog-gear performances. What draws you to this type of equipment in the digital age?

Well, it\’s something that i always did, i mean, using analog gear, or better said, hardware gear, instead of using a computer when playing live. In the studio

I currently use both analog + digital hardware plus \’in the box\’ tools, like some selected audio + fx plugins.

What inspired your latest album, TIME? Was there a particular story or feeling you wanted to convey?

The album was inspired in one of the most strong words i know, that\’s precisely \’Time\’, it means not only the hours of the clock, it also means a precious value, means also

our lives, and what we do with that, so it\’s a concept that sometimes becomes strong, other times is a soft concept, or under valuated perhaps, but it\’s also something that we all pursue,

everyone needs time, as to needs air. It\’s about what we are and what we do, and how we stretch the good moments to make them bigger than the worst ones.

How has your music evolved over the years since you moved to Barcelona in the early 2000s?

Oh, there\’s been a lot of water under the bridge so far 😉 but, all in all, it\’s a matter of keeping up to date with technology and new sounds, all the time. I am very restless and always on the search for new stuff, checking, reading, etc… So my music and my styles are on the same trend. I feel bored sticking to one single musical genre, it comes with the day, sometimes i feel more techno, sometimes I feel more pop, other days I feel more jazzy, etc, etc… No doubt my music has evolved, of course, mostly due to adding new and more knowledgment in notation, harmonies, techniques, etc… that combined with the insane amount of gear and sounds available nowadays, makes a pretty much mega combo at least irresistible 🙂 

Your tracks often blend diverse elements like UK-inspired arpeggios and pop guitar riffs. How do you approach genre fusion in your music?

I love UK music, mostly pop, breakbeat, drum\’n bass, etc… that comes from my 90\’s, no reason to deny it 🙂 When i first listened to sounds from the likes of Orbital, Massive Attack, The Orb, Leftfield,

Roni Size, etc etc, i was shocked and excited at the same level, and those sonorities became very intimal and important, like my own original soundtrack in my own movie. I have to say that I never was very fond of guitars until the early 2000\’s, or mid 2000\’s actually… For some reason, I always found 90\’s guitars so noisy and sad so I did not consider them during the first years, then by the decade coming into its end, like 1997-1998, I accepted guitars again, but was definitely on about 2004-2005 when they became really important to me.

In TIME, you’ve tapped into sounds from the \’90s and 2010s. How do you balance nostalgia with a fresh, modern touch?

I believe that\’s something that precisely, comes with the time 🙂 If I may use this expression 🙂 When was composing the tracks for this album, obviously did not think about balancing the tones, or giving a moderate rate between modernity and nostalgia, i think that\’s something that simply came like that, maybe because both decades (90\’s) and late 2000\’s-2010\’s were definitely important to my musical taste and years in general in which i discovered a lot of talent, a lot of new records, new sounds, etc.

What can fans expect from the track “Nothing’s Ever New”? Does it explore the concept of cycles or repetition

Well, not like that, the track tells a simple story, of a boring stuff, of a trip that never happened, of things that create illusion. Musically is a pop song, with a bit of dreamie guitars and a chorus bass

that reminds me of some Peter Hook (New Order) vibes. Love this track, actually 🙂

How was collaborating with Josee Laika on “La Nuit Tombe”? Did you experiment with any new techniques?

I met Natalie (Josee Laika) several years ago in Barcelona, she formed a nice project along with another colleague and good friend (Vise), and her voice always captivated me. We collaborated already on other projects and when she sent me some tracks for me to mix and master, it was a tune which included the french vocal of \’La Nuit Tombe\’. Immediately i felt it was a super nice vocal lib, and at the same time i was finishing a mix of an instrumental track called Blue Dust, then i almost automatically imagined a mix between the vocal and my track. We chatted about the idea of including her vocal in the album and with a couple of twists, it was done. Was super easy and I love the result.

Which track on the album are you most proud of and why?

Mmmm… not easy to pick a favorite here, but if i should select some tracks of the album as a \’selection\’, i\’d say the most representative would be: \’Time\’, \’Constellation\’, \’Get Over You\’, \’Shapeforms\’ and \’Bending Game\’. I could have released them in a maxi EP or something perhaps and it will work, but obviously i prefer the full LP. 

You’ve performed everywhere from Berlin’s Ritter Butzke to Mumbai’s Nobo Experience. Which venue has had the most impact on you, and why

Wow! What a question 🙂 I think every single venue has something to give, and mostly the audience, with its diversity in each case, it brings always light, no matter if the party goes full club or empty room, the audience always deserves full respect no matter how, and for that, i always try to enjoy and make ppl dance in all cases. Of course, a venue such as Ritter or a festival like Sonar, or a streaming show like Hör, etc, that tick all the boxes, of course… But at the same time, to play in far regions like India or Latam, brings different cultures to the table, new people, new audiences, and all of them very eager to have fun and show love to the artists, therefore that love should be absolutely 100% give it in return, with us sweating in the DJ booth.

How do you prepare for a live set, and do you tailor your performances based on the audience or location

Even sometimes it\’s a bit tough to prepare exclusive live sets for each occasion, I try to adapt the selection based on the kind of public, venue, country, etc. Playing live sessions is completely different that DJing, there\’s less movement since it\’s all my own music with my own imprint so not a very wide path to move within; nonetheless, i try to adapt the thing as much as I can, checking past artists at the venue, or checking the type of collective arranging the party, etc, in order to offer my personal approaching with a twist based on each show, it\’s not fully tailor made but i can say that i make the try 🙂 And of course, since I improvise a lot in my live sets, there\’s no two equal sets even if I play the same weekend on a double basis.

What’s your creative process like when you start working on a new track? Do you begin with a melody, a rhythm, or something else?

Every song is different, when i\’m composing directly dance music (i mean, Techno, Indie Dance, Melodic, etc) I usually start with the rhythm + bass structure as basis, not like a template but more like

assigning first the drum sounds or checking tops + kick combinations, then adding bass, arpeggios, etc, like in the search of a groove that makes me feel ok. Then I build up from there. On the other hand, when I am composing tracks more \’for an album\’, under this perspective, well, everything can happen… Sometimes I start only with the piano, or just picking the acoustic guitar and singing a silly melody like \’camping\’ style and starting from that, then go to the computer and start filling the blanks…Other times I pick an old loop that I\’ve got in a forgotten project and ideas come to live, etc etc… In this album, I think I mixed all the methods 🙂

You teach music production and conduct masterclasses. What’s the most rewarding part about mentoring new talent?

Very interesting question, honestly it\’s absolutely rewarding to teach (or try to) new generations about what i love most, that\’s music, work in culture, work with artists, labels, etc. I feel it like a super responsibility and I am very happy to do it, it\’s extraordinary to see the excited they\’re are, the \’hungry\’ they\’re of learning new things, the attention they pay when you explain them about what\’s a booking, how an agency works, etc, and also when you can convey your knowledge in music plus the expertise on different projects, etc. Really fulfilling.

Do you have any hobbies or interests outside of music that keep you grounded and inspired?

I don\’t know if that\’s a hobby but I love swimming, going to the beach (fortunately I live very near the sea, in the coast) and also long rides with the bike. That helps me a lot, to keep the mind fresh and active, and why not be inspired. I never think that swimming or going out with the bike helps me to compose a track, at least, never think of it directly, but I am pretty sure that leisure time is also a good element in the way we work, and the way we are. So, yes, definitely, go for these \’hobbies\’ 🙂

What’s next for you after the release of TIME? Are there any new projects or collaborations in the pipeline?

I am still on the promo stuff for this album, so not big plans yet for upcoming projects. Got shows, of course and planning to present the tracks from the album live in festivals in the next Season, but right now I am not composing new stuff. Usually when I finish an album, afterwards i arrange some changes in the studio, adding new instruments, or new plugins, etc, So i am now in that research phase, I made some changes on the studio, checking some new stuff so maybe some gear goes out and some new gets in, etc, usual stuff 🙂 And I am pretty sure that more music will come very soon since I was already doing some new sketches with the guitar 😉