Komprezzor, aka Raul Ignacio Rodriguez, is a hardware and modular-based techno artist and live performer. Originally from Mexico City, he has called Chicago home for over 20 years. I first caught him playing live at the Hardware party in the Liar's Club. I saw him again at the Rage In The Cage boat party. I decided to do a deeper dive and chat with him a bit. He's got plenty of stories and shit to say...
K: So, you're originally from where? Chicago or Mexico City?
R: No, dude, I'm originally from Mexico City. I migrated when I was 19. I turned 19 and I moved here.
K: Oh wow.
R: Yeah, no family, no nothing. Came here with a friend. I was crashing over at his place for about a month, then eventually, you know, I didn't feel like it was proper for me to stay that long, so I just got my own place and started doing the thing, you know?
K: Yeah, did you get your citizenship?
R: We're in the process. Yep, yeah.
K: Oh, that's cool, man.
R: So, I've been in this country for a long ass time, man. So, you know, always paying my taxes, always working the right way. So, it's been a blessing to be able to be here; and I was making music back in the day as well. I was actually DJing before I left (Mexico). I've been DJing since I was, like, 14, dude. So I came here and, you know. I started DJing as well and then got into just performing live, which is what I really enjoy doing, man.
K: Very cool, man. That's awesome. How'd you transition from DJing to doing live PA?
R: Through Ableton Live.
K: OK.
So, basically, what I did was - I learned how to use Ableton using their Scene View, moving back down. And, at first, I was pre-recording some, you know, loops and launching them which was like DJing on Ableton basically. And then, eventually, I got a bunch of MIDI controllers because I felt like I have, like, I guess, pretty heavy ADHD and hyperactivity. So, I can't just be sitting or standing in one place for too long without having to do something.
K: Right.
And, you know, I started charging Ableton. I created some ensembles on Reaktor Native Instruments and I made my own drum machines, you know, and some synthesizers; and I was using other people's synth engines.
K: Mm-hm.
R: And, what I did is, I mapped everything onto MIDI. So, I was still trying to do music live, you know. So, that was over - gee, man - that was over 16 years ago. I just didn't have the money to buy any gear, you know - it's really hard.
K: Right. Yeah.
R: Eventually, I got my first drum machine and then, you know, I got some other synths. And then it just got to be where I was like, "this is cool as fuck." And I was playing around and bringing all these machines and I'm like, "crap, this is a ton of gear, man."
And that was really killing me - having to travel with all that stuff so, eventually, what I did was, I came across Modular and that made my life easier because now I could carry, you know, so many sounds and synths in one little box. So that really was the thing that sold me onto the Modular - not so much experimenting with sounds, but the portability of it, you know, basically.
K: Mm-hm. Cool, man. That's awesome.
R: Yeah.
K: So, how long have you been performing live?
R: Gee, I mean - I guess my first recorded show playing live in front of someone, - gee, dude - it had to be over 20-something years, man.
K: Wow.
R: Yeah. I mean, I was still using Windows 7, you know...
K: Wow.
R: ...(and) a laptop that was like a gigantic brick that I happened to buy off my old boss. I worked for a dentist and he was getting rid of his computer and I'm like, "oh, let me buy it." And it was gigantic. Dude, laptops back in the day were like a luxury, you know.
And I remember carrying it with me and it was interesting that that was like my first show live. And I remember someone actually unplugged my USB, by mistake, out of one of my MIDI controllers. And, as you know, Windows 7 didn't support, like, USB hotswap.
K: Yeah.
R: So, that was a fucking nightmare, dude. I had to use the mouse to, you know, operate one of my drum machines and it was pretty crazy. But it didn't scare me. Instead, I was like, "oh, this is really cool," even if it didn't go as planned, you know. But it was really cool. I still enjoyed it a lot.
K: Yeah. So, if you've been doing this that long, you're pretty well-known in the modular synth community now, huh?
R: A lot of people do know me throughout, you know, just performing. I was one of the few, at least that I know, in the Midwest.
K: Right.
R: Bringing, you know, modular stuff with me here in Chicago area, Wisconsin, Detroit, you know, Madison, Minneapolis. I mean, I was definitely the first one for many shows. Like, yeah, this happened pre-COVID. Like, I was really - I mean - I've been pretty active in and out. Like, the one thing that - the only time I've been apart from it was, you know, during COVID.
K: Right.
R: Because there were no shows and I wanted to do something else with my life as well. I changed up careers, you know, started a business and it gave me...I concentrated on that. And now a few years, like a year and a half ago is where people were like, "dude, where have you been? Like, are you still playing or not?" And I'm like, "you know, I try."
I got all my gear back, started buying everything back the way I had it before. And I added a few new things. And now, you know, what you see is like a 2.0, you know, (of) what I had at the beginning. So yeah, it's pretty fun, man.
K: Yeah. What, oh, were you doing any live streaming during COVID?
R: Yeah, I did some.
K: Yeah?
R: You can find my channel. I got to - just type in "Komprezzor" and I do have some live stream stuff, nothing. Just type in "Komprezzor" on YouTube and you'll come across my channel.
K: Yeah?
R: Yeah. I did a lot of YouTube. Quite a few, actually. Early, early, early Komprezzor, you know, but it's definitely, definitely there. Like you go back to my playlist and I have shows. I have a few things that I did back in my studio. So, yeah, definitely.
K: Yeah? Cool.
R: Yeah, they can go in there and just look at what I've done, you know. And I have my studio multi-camera set up and, yeah, just jamming, you know. Nothing really crazy serious but, yeah, I do have some others that are pretty intense, you know, and more - a bit more professional - like shows, actual shows. So that's really fun to do as well.
K: So Secret Techno, that's your website and handle?
R: That was - that used to be my label. I used to run a label and now, you know, I put it on hold and I started - we started that whole Hardware thing with Derek (Specs). Derek and I have been friends for a very long time and he stepped away from doing events. So, you know, I've told them like, "dude, we want to, I want to start making some events. I want to bring some live stuff over - only live."
And we came with the idea of Hardware. So what I'm doing with the brand is he could utilize it however he wanted to, you know. He could do shows wherever he wants. And I told him all I want to do is separate it and do hardware techno. And that's going to be, like, my label, you know. It's an interesting concept. I'm going to be uploading all of the my recordings right onto a band cam, which will cost you like a penny to download.
K: Right.
R: And each recording as it is happening live, you know. I'm going to just split it into different tracks and then people just could download it. It's just for me to have some kind of a presence. And I'm working towards printing some limited vinyl as well. You know, just nothing big. I mean, you can't really make money nowadays in vinyl but even bigger artists are struggling with it. But, you know, it's just part of what I want Hardware to be. And I don't know that I want to invite other people to contribute.
I want that to be my own brand and do whatever I want with it without having to worry too much about, like, "oh, I got to find a remixer for this." Or I want to, you know, I want to release on my own pace. I want to do everything I want with it. And when I was running Secret Techno, it was kind of stressful at times because I had to balance my day job with it. And then you have to chase people and ask them for remixes and sit through countless songs that - it's really hard, dude. Like, because I love the art of it, you know?
K: Yeah.
R: And I could be a really bad, like, critic for others. Like, if you send me a track, I hate to say no, you know? Like, who am I to fucking judge whoever is going to be on my label in a way? Like, I had no quality control, even though I kept somewhat of a quality control; but it was just really harsh for me having to say no to someone, you know? So, at some point, we got some cool tracks played by Richie Hawtin and Chris Leibing and all of that. And they give you a bit of traction.
K: Yeah, no doubt.
R: But it's just, you know, you just start getting, like, everybody comes out of the woods and it's like, starts sending you music. And it's so hard for me to say no. And then, yeah, even friends, you know, and then you can be like, "oh, well, this isn't really what we're doing." And then you kind of end up losing a friendship or it's just tough, dude.
I just, you know, it's one of the things I hated the most about running a label; like the rejection and having to tell somebody no. And so I'm like, dude, I don't want to do that. I'd rather just do my thing. And if anybody wants to guest a remix, cool, but, you know, it's just - man, I just did a post on Facebook about how I feel things are going to shift over the next few years.
K: Yeah?
R: I did it on a forum and and everybody grilled me for it. I told them, like, when I saw Traktor come out, like it was Final Scratch. The concept was cool, right? Because now you could play with vinyl on your computer, digital file. But then it turned into just like a full-fledged - like Traktor came in and digital distribution kicked in. And I was, like, kind of worried.
I remember telling everyone like, "dude, this is kind of bad news. Like, you guys don't get it. Like, this is going to end up taking and killing a lot of producers because how can you keep track of money or releases? Like, dude, anybody can just fucking rip, you know, a YouTube song and use it on their DJ set. Like, this is crazy. Everybody's like, "no way. You're crazy. You're stupid."
And also Traktor made it very easy to DJ through hitting the sync. You know, it was very easy. I'm like, dude, eventually just a five-year-old is going to be able to do this. Like, and now we're going into a different direction with, yeah, just about anyone can DJ, right? With Nexus 2, everything synced, comes in. Yeah, you do need that. That learned like, it's not that hard to learn how to mix, dude. Like, to be honest, you know, let's be honest. So, for me, at least it was just like, it's cool. I love it. But I need to be challenged a bit more.
K: Yeah.
R: And now we're going into the AI era, which like there's...I was listening the other day on Spotify to some like techno tracks and eventually it started loading, right? Which is really weird.
I was actually, my girlfriend was listening to a Komprezzor station and then eventually started playing some other shit. And I'm like, "what the fuck is this?" And there were really good tracks. And I'm like, "what the fuck?" Dude, they were all AI-based on an algorithm. Like the AI learned the way I make music, right? And it fucking generated, like, shit that will sound similar, which is fucking scary because I'm like, "the fuck?"
So a producer, eventually, is just going to be put aside. Like, dude, you go to Beatport - there's hundreds, like, thousands of tracks released every week. It's a sea of shit, you know?
K: Right. Exactly.
R: So now you get AI filling that gap. And it makes sense. People are going to be fucking bored and be like, "what the fuck are you doing this?" And it's fine. Yet some of us do it knowing that we might not get paid that night. But very few of us get the luxury of doing it. Some others do. They have a hope. They have a dream. They wish one day they could live off doing what they love, right?
K: Right.
R: So is what with this fucking dream is that, like, you got zero chance; like especially in the future, they decide which - they do have some like AI DJs. So it's insane, man. Like I have no fucking - like I have no clue what we're going to end up doing in over 10 years.
Music-wise, you know, you have now digital performers such as the Japanese vocaloid (15:38) Mitsuko, I think it's called. You know, she's literally a hologram and it's an AI. It's music generated on a computer. And she has gigantic concerts of it, like thousands that - she fills arenas. Literally a hologram, dude. You know, so we'll see. We'll see.
I'm just happy I'm enjoying the ride and I'm doing what I'm doing. Hopefully I, you know, could take a little bit longer to learn what I do. So, and I'm not saying what I do is special; but it's definitely something, you know, to behold - like you're there. You see what I do. Every movement tracks with everything I'm doing.
You know, I'm not just preloading a set on a computer and just letting it play for an hour. It's just, you know, for me, it becomes more of a - almost like a spiritual, like, how do you want to say it? Like it's almost like a whole trip, you know, starting from the beginning where I'm, like, prepping for weeks or months for a show. Where I'm just twisting and twisting and I'm learning; and I'm trying to understand what I have to do, what I'm going to be doing in life, you know, and then just traveling to a place where you never know what you're going to find.
I've shown up to places and they don't have a table for me or they expect me to play in the fucking floor. And I'm like, "dude, like, come on," you know. Or they don't have a specific, like, a long cable for the mixer or, you know, all the type of shit.
So for me, it's a religious experience. Every show is not just showing up and let's see what we can do. For me, it turns into a discipline. And I've done quite a few by now, you know.
Like one of the funniest stories is me playing in Minneapolis a few years back and the place they picked had a ceiling that was full of asbestos. So, I was rattling that fucking place, like, you have no idea, dude. By the end, like, my cases are full of this weird powder. I'm like, "what the fuck?" And I didn't think much of it.
I'm like, I just went home the week after I was traveling to California for a show. People are super chill, but they do see this much gear and they freak out. Some of them, like, in bigger cities, they are cool about it and they're like, "oh, OK, you make music, whatever."
But on my way back from California, no, I actually went to San Francisco there. Fuck, holy hell, dude, they held me, they brought me into the room, they took my shoes off, they interrogated me, they made me take a lot of my cases apart because they ran the swab test. And guess what? Fucking asbestos is like it has so many fucking chemicals that are explosive that they thought I had a fucking bomb with me, dude.
K: Wow.
R: So now, you see, every show for me is a different experience. And, for me, it's like this is it - sounds kind of sick, but it's fun, you know, having - that's why you're alive - to be able to enjoy stressful situations like that, because at the end of the day, I knew I wasn't - my intention wasn't to blow up a fucking plane, of course.
So, you know, it's something - I'm like, "well, if I had just showed up with my two USBs, I would probably never have to go through that." And it's such a rush, man. I'm telling you, like bringing all those cases and stuff. It's just fun. I find it - I must be a masochist or something, because I find it really, really fun having to, you know, just run around the airport like a maniac.
K: Yeah. That's cool. So you mentioned that you get somewhat of a spiritual experience...
R: Yeah, definitely.
K: That's cool, man. Does your personal faith play into that?
R: My personal faith, it's pretty divided. I was brought up in a Catholic family.
K: Right.
R: However, you know, throughout the years, I just realized that it's just a way to manipulate people in their faith. And and that's why I decided to choose to just be a bit away from it - take whatever I wanted from it.
And about 20, yeah, about 20 years ago, (I) started practicing Buddhism, like a proper, proper Buddhism. Like I was going to a temple and just learning chakra, learning how to meditate and learning the Buddhist way, you know. At some point, I wanted to become even a monk, but it just didn't pan out, you know; and that really made me realize, too, many things about faith and religion that at the end of the day, you know, as long as you are acting without harming anyone around you and you're trying to do good, you know, you could literally put faith into anything that you're doing.
K: Yeah.
R: And it comes to me, it's music. Music really does have a very deep connection to who I am as a human being, specifically electronic music, you know. And let's just not even say techno for me is one of those things that just, you know, I think about it; and to me, it's not drugs - to me, its not just being in a dark room. To me, it's just being able to just let myself out on a safe space, you know.
K: Nice bro.
R: Yeah. I mean, that's at least how I feel towards every time I go to it. I mean, it used to be because I was raving since I was like 13-14. Like my first party, I was actually 14. A friend of mine - this is back in Mexico - his older brother owned a sound system. And he he's like, "dude, did you like this music?" 'Cause he knew I liked disco music. And then eventually he's like, "you like this? Come on."
He's like, "you like Techno?" No. And I'm like, "I have no idea what the fuck that is." And he gave me a tape. And I'm like, "this is so fucking cool, man." It was like Industrial Techno, you know, and like early '90s Techno. This is fucking dope.
K: Yeah.
R: And I'm like, "where can I hear more of it?" And he's like, "well, in fact, my brother, they're leasing his sound system and they're bringing a DJ from Spain. And if you want to be there." I'm like, "but dude, I'm fucking underage." And it was 20 fucking - 30 years ago, dude. They were like - I'm freaking 42 now. So, you know, I was like - well, they didn't really care much.
But at the same time, he had a trick. He's like, "this is what you do: You come in, you help me load the speakers and then we stay in the back. And they won't ask you for your ID or anything." And I remember seeing this dude - dude, he had like 10 turntables in front of him and he was looping a lot of the vinyl he had put tape on it. So it loops. So he was just literally going at it for like fucking four hours.
K: Wow.
That was the most incredible thing I've ever seen in my life. And ever since then, I'm like, "this is fucking dope." And I remember he was playing like early, like Detroit stuff, like Underground Resistance, like like Ghetto House shit. Like I was just, like, fully immersed into it, you know?
K: Yeah.
R: To me, it wasn't - I wasn't exposed to like the European Techno. To me, it was it was like the Detroit, the Chicago, you know, sound like Deeon, like, you know, Jeff Mills and all this shit, dude. I was like, "I really like this."
K: Yeah.
R: And then I remember - I have - this one CD literally changed my perception about what is it that you could do with music. And it was a CD recorded by Carl Cox when he came in playing Crobar.
K: Oh wow. I remember that CD.
R: If you listen to that - that one and the one in Detroit, you understand why is it that I play the way I do. I remember I must have listened to that thing like, dude, over a thousand times. I kid you not. Then I was - when I actually moved here, you know, I was working factory jobs and doing like yard work and all that shit. I remember having my huge-ass CD player with me. And while I was doing my job, I'd just listen.
To me, having ADHD and hyperactivity - when you do a job that's as monotonous as cutting the grass, you know, it could get you down pretty bad, or construction jobs like I did. It can really get you into a hole of depression. So, for me, it was listening to that. It was the key for, like, fucking eight hours. I didn't care if I had to repeat it over and over and over. And then, eventually, you know, I - actually - there was a store in Chicago called Hot Jams.
K: Yeah.
R: We're talking fucking years back, dude. And I remember going to that store as soon as - like the second day I came to Chicago. I was, like, "dude, I need to find a record store." That was it. That was Hot Jams. It was in the South Side.
And the owner was actually Mexican and his kid was born here, but they spoke Spanish...and the owner was like, "Hey, how are you?" And I was like, "Ohh, where are you from?" and we became kind of friends.
I didn't really have much money to spare buying, you know, to buy records because I was, you know, I was getting paid like fucking seven dollars an hour. I had to pay rent and all of that. So what I did was - dude, like, they had turntables and a sound system.
So I asked the dude for a job. I'm like, "Dude, can you give me a job?" And he's like, "I don't know what you want - we don't have a job. And I'm like, "Dude, let me fucking clean your windows. I'll freaking clean the floor. I don't care. I'm telling you, you don't have to pay me. Just give me - let me play for a bit on your turntables or maybe give me some vinyl - like one, if you want, for the whole day. I don't care."
And the guy would do it - like, it wasn't every day. I would go once a week or two - twice. And I started building my collection around that. Like, he'll be like, "oh" and we became really good friends. Mr. Andre(as) - his kid is called Andre as well.
So, you know, that store had a lot to do with with who, and how I still was able to to play because I was pretty sad that I had to leave all my shit back in Mexico. I had an OK collection and trying to come up with the vinyl the way I did in Mexico was really hard. So there was a store. I was strictly a vinyl DJ as well, too.
K: Yeah.
R: I never really got into the CDJs...you know. Eventually, I got three turntables, four turntables by going to like flea markets or thrift stores. So, I will find like really old Technics that have, like, pitch. I found quite a few. And I remember I found, one time or twice, in a pawnshop; I found, like, some, like, like 1200's for really cheap.
And eventually I had like a collection of like four or six turntables. And I was trying to incorporate everything at once, just trying to replicate the thing that influenced me at first by seeing that Spanish DJ, I guess. And I became really good at DJ'ing with like four or five turntables, dude. And eventually it was like, "yeah, I want something else" and I bought my first drum machine.
K: Yeah.
So, they had booked me to play a club in Chicago called PM. It was like a Latino club. And the promoter was a Latino guy as well, too. And one of his artists, right?...we met over at Hot Jams. Like he saw me playing during the free time that I had and he came up to me and he's like, "you speak Spanish?" I'm like, "yeah," because he saw I didn't really speak that much English, you know, and he had seen me. "I've seen you in the store. You work here?" I'm like, "yeah, it's kind of complicated, but kind of a little bit. Yeah, sure." He's like, "I just heard you. You play really good." And I'm like, "yeah, I've seen you." He's like, "you want to come and play with us? We got this night and this one club. It's on Saturdays. I can give you a 30 minute slot." And I'm like, "fuck, yeah, dude." So that was, like, my first big thing in Chicago.
And I remember, like an idiot, you know, bringing a drum machine that I had purchased like three days before. And I'm like, "fuck it. I love it. I'm just going to play with the drum machine as I'm playing with with CDJs." And I started and it was really weird until I started playing with the drum machine. And my friend, the one that booked me, he was like, "fuck, why didn't I invite him at first?" You know, at the beginning and then eventually he's like, "holy shit", you know. I remember his eyes turning to me like, "what the fuck?" And dude, like, the rest is history, dude.
I just decided that DJ'ing was cool, but making music live was something that was really going to fulfill me. So ever since then, you know - I started, like, just learning and watching and everywhere - every time I wanted to learn, I will have to go to like Smart Bar or just hunt for shows where people would come and play live, you know. So that's what I did, man. And I learned by watching because Youtube wasn't even popular, fucking 20 years ago. So, and that's what happened, dude.
Like, seeing John Tejada play or Punisher from Detroit or, you know, I got so many names but, sadly, a lot of these people are not playing live anymore. They don't even play. So...I did see the Chemical Brothers, as well. Even though they're not Techno, I did see them live. That was fucking dope.
K: Nice
R: So many people, dude. I mean I've seen so many shows, and Juan Atkins as Model 500 - he was just fucking ripping it in Detroit. Like, I've been going to Detroit, as well, for a long time - before it became Movement. Like, it was free. I remember watching fucking Jeff Mills play from the fucking tower and it was just crazy dude.
K: Wow
R: Like I remember just...dude, it's just Techno is just my fucking life. And Detroit, to me, has always been my fucking go-to when it comes to like, you know, techno style, I guess. Like, my shit is pretty influenced by that. By the old-school, you know, kind of like the riddims, the 909 sounds, I try not to synthesize too much. Just a few leads here and there but, you know, that's basically it.
K: Yeah. Who would you say are your primary influences?
R: Dude, so many man. Like, I know it has nothing to do with everything techno. It does, but a lot of the Underground Resistance dudes. I mean, I'm looking at Deeon, I'm looking at...also Green Velvet is one of them, you know, but as Green Velvet - not so much Cajmere. What else? Mixing-style I like Carl Cox, of course.
I like...I don't have really much of an influence, but I guess if I had to pick the most influential, for me...Octave One. I really fucking love the way they throw down. Even though their Techno is super-Detroit, you know, but the way they - their transitions, their whole set and the way it's structured. I really love Octave One, man. That is just influential.
Now, throughout the years, you know, and the one person I can think of, like, there isn't anyone out there that I can think of that does what he does the way that he does it is Neil Landstrumm. Like, to me, that dude is, like, definitely out there, dude. He's been doing it for so fucking long and I'm, like, so grateful that I can call him, you know, a friend...he's just fucking dope, dude. Like super dope and his skills with the machines, and the way he did it back in the day, which is for me, fucking crazy, dude.
And, of course, I like Aphex Twin even though he's super crazy, but I really like it. But I gotta say Neil Landstrum is definitely, right, like, on the top, dude. You know, it's really cool.
Lately, you know, I've been influenced by, you know, people like Karenn - they play live. It's a duo. They are from the UK. They play fucking amazing.
And lately, I've been really really inspired by the whole, um, this project that Speedy J has - Stoor. And he showcases a lot of live artists. So, you know, hopefully one day, you know, I could make it there too.
K: Very cool.
R: Oh, dude, how can I, like, fucking omit, like, (Tony) Surgeon? Dude, to me he's just top. You know, he's really the one that got me interested in performing modular. It's one of my dreams to be on the same bill as him, you know, to be honest. That's one that's on my bucket list. So, him and Karenn - those two - c'mon dude. That, to me, is amazing, dude. It'll be amazing, one day, to be able to perform on the same bill or event. And that's exactly where I think I wanna go, you know. So, you know, that's exactly just what I'm hoping to do with my music, just gain some exposure.
K:Yeah.
R: You know, influence people throughout it, like, you know, the way, the same way music saved my life, you know, t's just really literally saved my life.
K: Yeah, that's beautiful, man.
R: Yeah, of course...We just have to, you know, support each other and, and that's basically it, man.
K: Yeah, definitely, definitely, man. So what's next, man? What's on the horizon?
R: Let's see...For me, you know, I am planning on starting to do my live streams, not on the weekly basis, but at least every two or three weeks. And that'll be a lot less experimental. I'm just going to pretend I'm playing in front of people, you know. So we're going to do an hour, an hour and a half. I think I'm going to do every Friday. Then we'll record it.
And then off that, I'm going to start extracting stuff to be able to put in a Bandcamp and turn it into like albums, you know. Then again, where I'm expanding the Hardware concept just for me. I don't think I'll be able to press the vinyl before the end of the year, but that is happening for sure.
And just exploration, man. And just, you know, I love gear. So I'll be getting a few synths here and there and just play with them and see what I can do. I want to start texturizing a bit more, you know, just adding a bit more textures to my stuff as a back layer. So I'm going to experiment with that. And then that's it, man. Just reconfigure my modular from time to time. That's basically it, man.
