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 Chromophobia is the debut artist album from the rising Brazilian techno star Gui Boratto.

A steady stream of 12" releases over the last 2 years has seen this name appear on an increasing number of DJ and download charts, whether it's energetic house on Steve Bug's Audiomatique Recordings, and Plastic City, or a series of minimal-techno burners on Kompakt's own K2 imprint. Tracks from Harthouse, Kickboxer and Killabeat have all born Gui's name and his remix list is equally prolific. 

But these recent releases mark only a new phase of Gui's musical career. It's a little known fact that for over 10 years Gui has been one of Brazil's most in demand producers and has worked with an incredibly wide range of artists including Pato Banton, Garth Brooks, Steel Pulse, Desiree, Gabrielle and Manu Chao. He was also selected to work on music for the landmark Brazilian film 'City of God' in 2003.

Only 2 years ago Gui started to release his own productions, first track 'Sunrise' coming out on Plastic City. But it wasn't long before he attracted the attention of Kompakt's Michael Mayer and the label has been a good home from him since then. Last year the techno pop track 'Like You' (Kompakt Pop) featuring remixes by Michael Mayer and Superpitcher broke Gui out onto the international circuit and was supported by the underground dance floor success of Sozinho and Arquipélago on Kompakt that same year. The latter sold over 2000 vinyl copies in the first 10 days and was picked up for Hernan Cattaneo's Renaissance compilation and Steve Bug's Bugnology 2.

 So Chromophobia seems a natural progression for a producer with a pedigree such as this, many less talented would not be able to rise to the challenge of a long player, but Gui does manage to pull it off.

It is very difficult to see the role of an album in this digital and download age but Gui Boratto delivers a tightly produced package starting off with all the industrial bleeps and beats expected from a minimal techno CD. '

Shebang' and 'Chromophobia' are the peak moments designed for dancing, but then the experience of the producer becomes clear, with minimal transformed into chill out with 'Mala Stana' and even a Royksopp-esque moment (Acrostico) and the odd vocal track, 'Beautiful Life'.  

Gui spent last summer touring Europe extensively, taking in the obligatory Panorama Bar in Berlin, Barcelona's Nitsa and Ibiza's very own DC10, over the 2 part trip, and the last 2 months have seen him over here again.

We managed to squeeze in a chat during a weekend off back in Sao Paulo.

How come it took so long to start releasing your own productions?
Cause I've been really busy. I used to make some techno things just for my own pleasure that time. Only in 2004 I've decided to show some tracks to the labels.

Chromophobia is your first complete artist album. How does the approach to that differ from just producing say, 12 individual tracks? Does it at all?
When you produce an album (at least for me), you can tell a story. The tracks are connected. The album has a beginning, middle and end. It's like a book.

There's quite a range of sound on the album. What are your particular favourite bits?
Beautiful Life, Malá Strana and Acróstico. But, of course, I love all the tracks.

What equipment did you use to produce the album?
I have some old synths like Juno-106, SuperJupiter, Six-trak (Sequential Circuits), among others… a G4 computer with Logic Audio running and some plug-ins inside and the Digidesign Pro Tools hardware.

How long did it take and where was it recorded?
It took 2 months to make it. I did it in my living room, in my house.

"The electronic scene has lots of young guys, with no experience at all. This is really fascinating for me"

I would imagine that your experience means that you're quite disciplined in the studio. What's your usual routine?
I wake up at 7 in the morning, because of my 2-year-old little daughter, have my breakfast and turn on my computer. I have a pause for lunch at 12:30 and return at 2, until the end of the day. Of course everyday is different, but is like that. When my wife and I go to party, after that, when we come back to our house, we use to record some vocals. She used to sing some of my tracks.

If Chromophobia were a journey, where does it start, what places does it visit and where does it end?
It will start in a theatre, here in Sao Paulo, than a dinner in a fancy French restaurant, than an amazing party in a very small club, then a flight to Prague in the Czech Republic, then whole day walking in Malá Strana, after Karlov Most Bridge, and then a good sleep… to rest a bit.

I'm still most impressed by the 'City of God' soundtrack connection. How did that come about?
That time, the makers of the movie decided to make The Remixes Soundtrack of the movie. They requested some of Brazilian DJs and producers, which I was included. I did 2 remixes for them: "Molestado" and "Fast Samba 2004". I'd loved to do that job.

And Manu Chao. This is a really impressive catalogue of people that you've worked with.
The guy from EMI requested me to produce a remix for Manu, to release and play here in Brazil. I did 2 remixes. They played a lot on the Brazilian radios. It inspired me to produce some Drum & Bass stuff later.

If you could work with anyone (alive or dead) what would be your dream team?
My dream team would be, a Martin Gore composition, Vince Clarke doing some synth programming and David Coverdale on the vocals.

What's the biggest difference between 'that' world and 'this' (the electronic music scene)?
The electronic scene has lots of young guys, with no experience at all. This is really fascinating for me. The electronic scene makes the people closer. Especially when they are together dancing, having a great time.

You've been incredibly busy performing and crossing over to Europe in the past year or so, 7 countries in 12 gigs last June, and then back again in August. Your album press release says that you will be "touring relentlessly in 2007".  How does this fit in with your plans for future in terms of producing vs performing? How does it all fit in with your family life? 
I love to play, but, I will need to stop a bit, to produce more of course. And I also miss my wife and my daughter. Sometimes my wife comes with me, but my daughter is still too young to travel with us. She's only 2. But in a year or 2, I'll take them with me for sure.

There is a tendency in Europe for Europeans to think that the rest of the world revolves around this continent, especially in the music scene. Do people think the same in Brazil, or is it just human to think that you're the centre of the world?
Europe is a beautiful continent, and speaking about electronic music, the pioneers.  But there are so many really talented foreigners. People from Chile, Argentina, Russia, everywhere.

How healthy is Brazil's underground scene? Is there an equivalent Panorama Bar or DC10?
Yes, we have one of the best clubs on earth. It's called D-EDGE. There is an amazing vibe from the people and the neon lights on the floor and the VU LEDs all over the club are really impressive. Amazing club. There some DJs that plays even for free.

Any future collaboration lined up? When are you next in the studio?
I'm finishing a remix for Robert Babicz now. And other remix requests, but, as you know, I have a real need to produce. I'm always working. Most of the time, alone, but I love to have some collaboration. I did a new track with Phonique, called Space Cruise, which will be included on Phonique's new album on Dessous.