Track-by-Track: Fernando Lagreca Tells Us All About ‘TIME’

Fernando Lagreca is a big deal as a producer, but he can also pull his own weight as a songwriter. The proof is in his latest album, TIME, which is out now via Beautiful Accident. Born in Uruguay, the Spanish producer takes you through the breadth of his influences on this new eleven-track effort. The album was written and produced entirely by Lagreca himself. TIME is a fine record of modern electronica defined by its air of psychedelia, fractured drum patterns, and ethereal vocals. The tracks tap into the rhythms and textures that were popularized within electronica from the early 1990s into the 2010s. Much of today’s electronic scene has been shaped by this era, and TIME is Lagreca’s own ode to this generation.

Over the years, Lagreca has become widely regarded for his explosive live performances from around the world. He has performed at a number of festivals, including Electrosplash, Sónar, and BIME. Based in Barcelona since the early 2000s, he has become one of the most innovative and exciting electronic artists and producers in all of Europe.

Lagreca joins us today for an exclusive Track-by-Track rundown of all of the key moments on his new record, TIME.

1. “Utopia”

“This is the opening track, a small intro to the sonic universe that will be later deployed. The track starts with a subtle arpeggio that evolves into a more complex stuff for a quick fade out to perfectly mix with the beginning of the second tune. Initially conceived as part of the album title track, ‘Time,’ I finally decided to split it into an independent overture.”

2. “Time”

“That’s more the proper opening. After the small intro path opened with ‘Utopia,’ ‘Time’ is a synth universe theme, plenty of both analog and digital frequencies, a classic vocoder sound stating a sort of ‘manifesto’ speech, and briefly introducing some elements of the full album, such as acoustic drums, basses, and plenty of efx.”

3. “Constellation”

“Following the ‘space’ feeling, ‘Constellation’ is a mega-synth track. I use a lot of analogic power on it, many bass lines from Moog and Novation Bass Station, electronic drums, and some multilayer synthesizers to deliver a track inspired by space movies and time travels.”

Fernando Lagreca ‘TIME’ album artwork

4. “Get Over You”

“While I was in the composing process when I wrote this piece, I used to say to myself, this is electronic rock, and still believe it. This tune sports acoustic bass, guitars and also a good dose of acoustic drums blended with subtle synths with detuned oscillators and warm sound, to accompany the sample voice on repeat.”

5. “Shapeforms”

“This track is the first single, built up from a very small sequence I programmed in the Sequential Pro3 synth, which is very psychedelic itself. It brought the perfect option as to write a repetitive and psychedelic sort of breakbeat, ala Chemical Brothers tune. Some late ’60s modelled guitars did the rest of the trick.”

6. “Bending Game”

“Electronic power, melodies to the front and warm sound are essentials on this tune. This track was one of the first two I composed for this album, initially thought as more electronic overall, but then evolving into a more complex story adding some acoustic elements. ‘Bending Game’ is ready for the dancefloor, fitting perfectly into an indie-dance or dark disco session.”

7. “Save The Beat”

“In general, I say this album is a sort of journey to the music that liked or influenced me in the last 20 years. And this track has it all, that’s arpeggios, female vocals, guitars, electronic drums, synths, and even a ’90s double piano riff to the end. Maybe one of the most ‘commercial’ tracks in the album, also danceable and ready to be remixed.”

8. “Gravity Trick”

“This one, along with ‘Bending Game,’ is the second track I wrote thinking about an album. Also electronics here and very suitable for clubbing, ‘Gravity Trick’ shows intricate atmospheres mixed up with melodies and arpeggios, plus a powerful kick that leads into a very noticeable sub-bass feeling.”

9. “Nothing’s Ever New”

“Acoustics again, in a pop song that is one of my favourites of the album. A sad lyrics song becomes bright because of the melodies, the chorus bass guitar and the layers of guitars and synths, along with a happy drumming. I love this track.”

Fernando Lagreca, photo F.Mella x Dimgray Studio

10. “Real”

“Breakbeat power here, a lot of time stretching and sampled voices with a robotic twist, for this energetic tune full of movement and happiness. The rhythmics are very contagious and invite movement and dance.”

11. “La Nuit Tombe (Blue Dust)”

“The ending track is a collaboration with the French pop singer Josée Laika. I met Nathalie (Josée Laika) several years ago in Barcelona when she was singing in a former project and from then a collaboration was agreed upon. She sent me a track to help her with the mix and mastering, and the track she sent included this vocal (‘La Nuit Tombe’). I immediately matched along with ‘Blue Dust,’ an ambient-cinematic tune I was working on at that time. So I proposed to her to make this version, which finally ended up as the closing theme for TIME.”