Fernando Lagreca – Album Release Feature – Zone Magazine Issue 052 –

Words By D4mian Smith

Fernando Lagreca has spent years developing a hardware-focused live approach, building his performances around grooveboxes, drum machines and real-time sound manipulation. His long-standing relationship with Techno has been shaped not only through his artistic output, but also through his broader involvement in the industry as a manager, booker and publisher. This 360-degree experience not only underlines his deep understanding of the electronic music ecosystem, but also reinforces his relevance within today’s scene. And yet, despite this long-standing relationship with the genre, none of his previous albums had been fully devoted to Techno. Until now.

Until “Motion Tactics”. Lagreca does not define this new release as a conventional “album”. Instead, it is conceived as a collection of interconnected tracks and sound explorations, rooted directly in the language of Techno. A body of work that fully reveals its meaning when experienced from start to finish: rhythmic explorations — hence the title — that move between groove, subtle electro influences and, at the core of the project, Techno itself, ranging from more mental territories to classic, dancefloor-focused nuances.

“The initial purpose,” Fernando explains, “was to create sound banks for upcoming live shows aimed at the dancefloor, but after several studio sessions, I realized I had more than enough material to turn them into full tracks.” Out of this organic process emerged “Motion Tactics”, a release that captures the essence of his hardware workflow, his rhythmic drive and his personal vision of contemporary Techno — designed both for the club environment and for focused, immersive listening.

What inspired you to make this album, and why now?

It all actually started with a change in my live setup, always searching for new sounds and new possibilities. I began composing and preparing new sequences and patterns, and at some point I realized I had accumulated a lot of bases and sequences. Initially, I created them directly on the machines to play live, but little by little they became the seed for the tracks on this album. It could just as easily have been an EP, but I ended up with several ideas I really liked, and after testing them live, I decided to shape them into something bigger, which finally became an album. I’ve always been connected to techno, but until now I had never produced an LP—or a maxi EP if you prefer—largely focused on such a defined, dancefloor-oriented sound. Until now, it had only been EPs.

How do you usually choose track or album titles?

Good question—it’s a mystery even to me 🙂 For tracks, I go through phases where I come up with names and write them down in a notes app, then I match them to tracks depending on how they feel. Other times, I just hear a track and the name comes naturally. Sometimes I even “borrow” words from books or articles that catch my attention. There’s no single method. For album titles, it’s a bit different, because an album carries a concept, an idea, a plan. In that case, the title says a lot—it reflects the musical project itself. It’s not random; the process of finding it is much more intentional.

It’s a techno album, but with influences from other subgenres, which gives it a lot of personality by blending electronic styles. Is that your way of producing or understanding music?

Anyone who knows me as a producer knows I move between different genres—I’ve always been like that, and I don’t think it will change. I like evolving, blending styles, experimenting, adding melodies where they’re not usually expected, or stripping them away where they typically are. Every day we wake up in a different mood, and that affects what we listen to, how we feel, and how we react. When composing, it’s impossible to disconnect from daily life. For me, being organic means being able to flow between moods, finding balance and calm through that movement across genres.

Have you had or do you have any references when producing?

It’s inevitable to have influences, but I don’t identify a single clear reference. I listen to a wide range of music—from jazz to ambient, pop, techno, more cinematic or introspective electronic music, some classical (not too much), and quite a lot of classic drum and bass and IDM. Sometimes I go through phases—more Aphex, Joy Division, Boards of Canada, Moby, Air, or Moderat. They’re all top-tier projects, and it’s impossible not to appreciate them. That said, when I’m finishing tracks, I actually try not to listen to much music, so I don’t get too influenced.

Do you have a favorite track or any anecdote you’d like to share?

I think my favorite tracks are Logaritmo, Persistency & Perception, and Architecture of an Endless Pattern.

Where do you think the techno scene stands right now?

I think it’s in a very good place. There’s definitely some saturation in the harder side of the scene and its subgenres, but techno always survives—it’s about resistance, and you can feel that now. Many generations that embraced electronic dance music during and just after the pandemic as a form of expression are now gradually lowering BPMs and moving toward a more techno-oriented direction. That natural evolution could give techno long-term continuity, while also bringing new production techniques, tools, and a growing fanbase.

How would you define yourself as an artist, especially as a music producer?

As I mentioned, I enjoy multiple genres and produce a wide range—from techno to ambient, with touches of pop. I’ve also produced some drum and bass, and even composed for theatre or contemporary dance. I really enjoy using hardware synths, samplers, and drum machines. In some tracks, I also incorporate guitar, bass, and even pad-played drums. So I’d define myself as a producer with a broad range.

Tell us about your other roles in the industry.

Besides producing and performing live, I’m also an artist manager and booker. I run Miracle MGMT in Barcelona—a boutique agency focused on techno sounds. I also manage a couple of labels, a small publishing company, and I teach and give talks about the music industry at SAE, Eumes, and other schools. Occasionally, when time allows, I also do consulting and coaching for emerging artists.

How did you start balancing these different artistic roles?

It happened very organically. I studied Business Administration, did a postgraduate degree in Finance, and later completed a couple of master’s degrees in Cultural Management. I’ve always been interested in business and enjoy creating my own projects, alongside performing and producing. These different roles naturally fell into place. I guess I’ve always been quite restless, so I never fully committed to just one path. Instead, I’ve found a balance where everything revolves around music, which is what I’m truly passionate about. I try to make everything feed into each other.

There seem to be many changes coming in life in general and in electronic music in particular. How do you see things evolving over the next five years?

After going through a pandemic and witnessing conflicts like those in Ukraine and the Middle East, it would be very opportunistic to predict even two years ahead, let alone five 🙂 I try to focus on what’s happening now. It’s not always easy to stay connected, but I prefer to deal with the present and analyze things as they unfold. Of course, some planning is necessary, especially running an agency with a team of ten people and managing artists. But I try not to get overwhelmed by long-term speculation and instead focus on enjoying the moments when possible.

The audience—who do you think this album is aimed at?

Definitely a club audience. I’ve played at several festivals, some of them top-tier, and I’m very happy about that. But I really love clubs—the connection with the DJ or live act, the closeness with the crowd, that shared experience on the dancefloor. That’s the audience I primarily aim to reach.

Despite having many technological tools, there’s also a lot of competition. Is it harder to gain visibility nowadays?

Very hard, of course. There’s strong competition, and at the same time, consumption patterns are intense—especially on social media. It feels like you have to fight for every post, every like, often with increasing investment just to stand out. Everything feels a bit inflated—profiles can be misleading, campaigns are run for every small action, and even then, it’s hard to reach the audience you want. It’s a complex and growing issue.

The return of vinyl seems like good news. Do you think it’s more of a response to increasing intrusion in the industry?

I wouldn’t say it’s only about that—although it plays a part. There’s also a cyclical trend, a sense that the current model might be a bit exhausted. Some of the new generations are looking back at the roots, and vinyl DJing comes from that. It’s a mix of factors. I celebrate it, of course. I don’t DJ with vinyl myself—I’m more into live sets and rarely use CDJs—but I think it’s beautiful that vinyl is coming back, even if prices are quite high. I fully support this return to physical formats.

How important is mastering to you, and do you think it could disappear with improvements in AI?

Mastering is fundamental—and so is mixing. Both processes are essential to achieving a good sound. Mixing and mastering go hand in hand as a single concept. It’s also important to recognize our limitations as producers and collaborate with trusted studios and engineers. AI can help simulate how a track might sound or highlight issues, but the human ear and judgment shouldn’t be replaced by algorithms. That would mean losing the essence, so I hope it doesn’t happen.

What are your next ideas or musical projects?

Right now, I’m focused on finishing the promotion of this album and some upcoming shows that are already confirmed. Soon I’ll be back in the studio to finish a couple of EPs I’ve already committed to, and then we’ll see what comes next. As I said before, I prefer to go with the flow. I do have ideas, but nothing fully developed yet. I also like to take some time between projects to recharge and regain perspective.