The Movements EP from music producer Mazoulew’s is nothing short of amazing with its interchangeable electronic textures. Each track was composed by Mazoulew, and the final mastering was executed by Lewis Hopkins, who has worked with the likes of Bonobo, Disclosure, and Maya Jane Coles. Each track on the Movements EP blurs the lines of neo-classical, ambient, and downtempo, leaving one’s mind feeling stimulated in a refreshing way. Track ‘Burnt’ intrigues us with light voice dubbing and the overlay of gentle textures that are on fire when combined.
We chatted with Mazoulew and discovered that he is just as energetic with his words as he is with his sound. 
Sum up your year so far in two words.
Reflective, productive.
Tell us more about how your latest/upcoming release was conceptualized?
Movements was a project where I wanted to explore delicate timbres and compositional techniques. I wanted to create something more introverted and reflective for the listener. I moved from London to the outskirt of Milan a year ago before covid hit. And when I started the record, I felt like it was the time for me to get back to the start of the music and strip it down to its purest form. I want to start with conventional foundations and timbres, but then apply modern manipulative techniques to develop these tones and combine them with unorthodox elements.
Describe a typical day in your studio space.
I spent a lot of my time researching tones I find interesting and emotive. Some days I work on a sound in isolation, creating variations and manipulations of an idea until it has a unique quality to it. I can archive this sound and later implement it into a full composition. I enjoy sitting down at the piano and searching for harmony just as much as I love programming drums and other electronic textures. I do not start two songs the same way, and I don’t really have a “go-to” method for starting a track. It is just something that naturally happens through experimentation and process. I love the unpredictability of the compositional stage of writing. When things click together, I am hearing the music for the first time in the same way as the listener in the end.
What are the most important pieces of equipment for you?
I think I would have to say my computer, as that is the foundation of all my compositions. I feel you can have whatever toys in your studio, unless you are recording to tape or whatever, your computer is always going to be the final sequencer or playback device. Being able to have arrangement oversight on a linear timeline allows us to explore the magic of timing. I was told this many years ago, and it’s something that has really stuck with me. You can have a collection of the most amazing sounds ever heard, but if they all play at the same time it is a mess. It’s not what is happening, but when it happens that is important. This really resonates with me and it’s why I probably have such a passion for arrangement.
Describe what an ideal day would be for you?
For most creatives, a good day is when you create something that achieves something. There is just so much music being made and released now, this is inescapable. As an artist, I am very focused on my personal journey and what I am trying to say with my work. I know there are many people out there who are very concerned with what everyone else is doing, either keeping their ear to the ground or making music that fits into a category or certain audience demographic. I don’t approach my work like this, rather I am searching to bring something unique, covering ground that has yet to be explored. This is where my passion is. I would hope my compositions inspire those listening, giving them a new platform for their own ideas to grow.
Do you have a favourite memory of your career so far that you will take with you forever?
Every song I make is a defined point in time. It has all the memories and experiences of that period attached to it. When I listen back to my catalog, it’s almost like looking through a photo album and reminiscing about who I was and where I was when I was creating the work. I wouldn’t say I have a favourite memory as such. I realize that without all the experiences I have been through, good and bad, they have shaped myself and my work into what it is today.
What can we expect from you in the near future?
Overture will close the Movements E’ in October and then from there, I will take some time away to start working on a new record. I usually leave a bit of time between projects so that I feel like I have officially closed the book on that chapter before starting a new one. I have put together some ideas that will feature on a new record next year, alongside a live show. I have had a bunch of people asking me to do some remixes and collaborations as well, so will see which ones of those work.
EP track ‘Burnt’ features on the Spotify playlist CHILL_GROUND.fm
Follow Mazoulew:
Facebook / Instagram / Soundcloud
