Interview with
Costin Rp
Hello Costin Rp, you’ve been making a name for yourself in the vinyl market as a producer within the last years, and your unique approach to music production is truly inspiring, this is why I’m glad to have a discussion with you about your creative process, your inspirations and your philosophy towards music, as I’m sure it would deeply resonate with the MINIMALER community.
Moreover you’ve been working on a very meaningful project that has just been released last week, your very first record label, which makes it even more significant to have this interview, thank you so much for being part of it and to share more about your journey, your newly born label and your vision for the future.
Hello, thanks for the invitation.
1/ First of all, what did spark your interest into DJing or producing electronic music?
My interest in electronic music comes from my outings at electronic music events. In 2008 I started going to parties and watching what the DJs were doing there, then I started doing it at home.
First it was the playing, then the production.
2/ We most surely come from an era where electronic music wasn’t that democratised, and I would personally think that the faster the life has become, the faster the music rhythm has evolved too, not only in electronic music, but for most of genres (from classical, to disco, to rocknroll, to electronic, we can feel this evolution).
In your position, would you say that your cultural background influenced your sound design and production style, and if so, how?
Yes it’s true, things have changed a lot and it’s normal.
Absolutely, my cultural background played a significant role in shaping my sound design and production style. At first it was the 90s music I used to hear at my parents, then when I discovered electronic music. I also listen to a lot of music, which is very important.
3/ To go further on that matter, are there any non-musical sources of inspiration that fuel your creativity?
What a good question 🙂 Yes, my personal life and what I experience, nature (I like to spend time there) and movies.
4/ Over the last years talking with artists, I noticed that most of you are deeply influenced by your daily emotions in order to produce music, a bit like materialising your states of mind through melodies, which I find fascinating. Would you say that mental health plays a special role in the creative process?
Definitely. Mental health plays a huge role in the creative process and I think it’s something many artists can relate to. Music is a way to channel and process emotions. On the other hand, there are moments when stress or burnout can block inspiration and it takes effort to find balance and reconnect with the joy of creating.
But regardless of the emotions you experience, good or bad, if you transpose them into music something beautiful will come out.
5/ In order to transcribe properly your emotions into an Ableton Live project, you need tools enabling you to create accordingly, and we’re in a good era for that as technology became sort of central to electronic music production nowadays. What are your favorite tools or softwares to use on this matter, and why?
Roland SH 101. Because I love acid sounds and the bass lines.
6/ You’ve been appearing on many esteemed record labels like Rawax, Atipic or Pressure Traxx just to name a few, on which you’ve been releasing impressive creations for the last 10 years. What’s your creative process when you’re building a new track, do you start with a beat, a melody, an idea or maybe a concept?
Sometimes I start with an idea that often turns into something else. Sometimes I just start creating without having anything in mind, I choose at the moment what I like how it sounds.
7/ This decade of musical operations is about to be celebrated the best possible way with the launch of your record label last week (20/01/2025), would you tell me more about your vision behind starting your own imprint?
I decided to take this step because I have a lot of different music in my portfolio than what is coming out these days. There are songs that many record labels wouldn’t release so I decided to make my own record label and release them.
With Garden Of Eden I want to create a label that values timelessness and quality.
8/ It’s not always an easy road to run a record label, as the pressing plants are busier than ever today, which sometimes restricts the volume of vinyl produced and therefore its availability for artists’ audiences. This said, digital platforms like Bandcamp have broaden the possibilities for both labels and customers in the last years.
What will be your approach towards your label distribution, and what’s your opinion on limited pressings vs wider availability?
My label will be vinyl only but with streaming on different platforms. About the other thing, I prefer limited pressing. They create a sense of uniqueness and value for collectors and fans.
I’m also thinking about starting a sub-label where I can release digitally and help other artists expose their music, but until then I’d like to see how it goes with the main label.
9/ Furthermore, what role do you think vinyl-focused record labels are playing in this digital era?
Vinyl focused record labels play a unique and essential role in today’s digital era.
For listeners, owning a record is about more than just the music; it’s about connecting with the artistry, the physical medium, and the intention behind the release. It also helps to preserve the culture and traditions of electronic music, which were deeply rooted in vinyl from the beginning.
10/ Regarding your upcoming label, if you project it in 10 years, where would you like to see it heading? Is there a special artist you’d like to release on your label, will you work on collaborations, or maybe will you rather release your own creations?
As I said earlier, I will only release my own creations and occasionally have someone from the industry that take care of the remix.
11/ To conclude in a more general yet important topic, according to you, what ethical practices do you believe are essential to implement in the music industry for the future, especially in regards to artists?
I believe ethical practices are vital for ensuring a healthy and sustainable music industry, particularly for artists. Fair compensation is a key point. Artists invest a lot of time, energy and resources into their craft, so it’s essential that they’re properly rewarded for their work. This includes fair royalty splits, timely payments and support for both emerging and established talents.
Mental health support should also be prioritized. The industry’s fast pace and high expectations can take a toll, so fostering an environment where artists feel supported and understood is crucial. I believe that in the future, more opportunities should be given to all artists, not just those who are already established. The industry needs to be more open to emerging talents, many of whom are doing exceptional work but remain in the shadow of well-known names.
There are countless artists with huge potential who haven’t yet received the visibility they deserve and should be given the chance to share their music just like the most famous ones. These talents deserve equal opportunities, not just to express their creativity but also to be supported and rewarded for their efforts. The industry should focus on nurturing artists in their development, not just accepting the already established ones.
This would contribute to the diversification of the music scene and help discover new and valuable perspectives.
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