Second part of the interview with Intro

Interview with Intro (ex Max&Intro); 3.11.2015 part two

Discom: You have collaborated with Max on many projects. What do you think about him as a musician? What do you like about him, what not?

Intro: First of all, he was tremendously creative, he had all sorts of original ideas, but somehow he was extreme. I tried to coax him to stand still on the ground, because our market in that time couldn’t bear extremes. It also happened that if you were an extreme, then something what you’ve done simply remained unrecognized, or nobody was interested for it. Somehow, I was trying to get him back, not in the sense that he should be purely commercial, but that he should do something interesting for someone who will find it to be attractive. While we’ve been doing something what he really liked, he used to say that he doesn’t care whether someone will or won’t like it. In this sense, we were a good combination. If I were like him, that would be a problem. For instance, when you hear some of the things I’ve done, it wouldn’t be as dark as something what Max would do. I’ve always inclined to make something commercial (that is why Max used to call me Intro Logic).

His inability to adapt started to be obvious when he was supposed to do things and arrangements for other artists. Max wasn’t able, creatively nor mentally, to fit on the same level with someone who is different, who comes from another world. It often happened that he would start to collaborate with some artist, and then he would quickly withdraw, after what he used to call me to finish the project. He had even made some arrangements for one local folk star, but he did them entirely in his own way, which was quite a shock for a local star. In addition, if there were too many people working on a song, which he liked anyway, it happened, again, that he wouldn’t be satisfied. Necessities for originality and independence were highly dominant. I have to mention, there were situations where his timbres or lines were similar to Yello or Fairlight. Course, I would warn him on that fact, but he wasn’t often aware that a line reminds of them. For him, those sounds were the most natural ones. He was stubborn for sure; you had to explain him a lot why something is not right. Max was convinced what he does is the best, and he used to say that he doesn’t care if something is wrong. I was totally different.

Discom: When we speak about Fairlight: Have you ever been fascinated with Fairlight synth as Max was? What you think in which extent technology affected his process of creating?

Intro: I was fascinated by Fairlight, but Max was even more. He was dreaming of having that synth since he was 14. When Fairlight appeared, it was a miracle of technology, of course, unaffordable for us. Later much better samplers became available, but Max was still fascinated with it. One thing has influenced his style in a great extent – he liked old school synths. He didn’t follow development in technology as many synthesizers players did. For the most of synth players, the sound had a great influence on the whole process of creating: you hear new timbre or some new sound, and that reminds you or initiate you to do something, like- you play a new line. Max wasn’t so much fascinated with new hi-tech synths, he’d rather experiment with sampling, especially with human voice and artificial sounds and he was incredibly good with it. It is an interesting question how would his music look like if he had an opportunity to play Fairlight or to make samples on it, or on any other expensive synth.

Discom: We are very curious about your artistic name ”Intro”. Why people call you Intro?

Intro: Well, our friend Nikola which studio we used for recording of our first demos was a ”godfather”. He really adored Logic System, a musical project found by Hideki Matsutake, a sequencer programmer and modular synthesizer operator for the Yellow Magic Orchestra, (he wasn’t the member of YMO). Logic system has one opening theme in their debut album called Intro. I knew to play that theme and Nikola was astonished by my knowledge and my playing skills, so he gave me that nickname: Intro. Since then, it remained: all my friends- musicians who belong to early Belgrade electronic scene call me Intro. I can’t remember when Max took his nickname, his real name was Miodrag. After we disbanded, he didn’t exploit the name Max Vincent, therefore the most people know us only as Max&Intro.

Discom: For the end, after 30 years, when you look back on that time now, what kind of feelings, memories, and thoughts it awakes?

Intro: For me it was a wonderful period of time, especially since I was very young beck then. I have experienced the most beautiful things from 1981 till 1987, musically and personally. I am still listening music from that time and I have a collection of synthesizers from that period. After that, everything has collapsed both creatively and musically: MIDI was invented, technology has changed, and suddenly everything took totally different direction. That early electronic period was outstanding, unrepeatable and above all: lighthearted.


Intro’s gear- (from above to down from left to right)

1. Korg mono/poly; 2. Atari computer; 3. SCI Pro one; 4. Prophet V; 5. Minimoog; 6. Roland Jupiter 8.

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