Gui Boratto from Brazil is clearly a commando. In 2005 he came right from the sky and took the charts by storm. What is he like and where is he from? Read on.

Sound Revolt: In the days of working with other artists (1994-2004), were you more a sound engineer or a producer who had a big input into the final piece?
Gui Boratto: Both. It depended on the artist. With Pato Banton, I was more like a producer and a composer as well, because it was my music with his rap/ lyrics. With Steel Pulse I was more engineer. And with Gal Costa and Daniela Mercury, I was more like a remixer/ producer.

Sound Revolt: How much freedom did you have when it came to choosing the artists you were going to work with? Was it up to you or was it the decision of EMI or BMG? I’m asking because some of the names, especially Garth Brooks, look surprising.
Gui Boratto: That time I was really young. Not only speaking of my age, but my knowledge was fresh. Of course it was EMI’s and BMG’s decision but I took that great opportunity to work with such big names. I did not meet Garth. I was a remixer/ producer with him.

Sound Revolt: But on the other hand, ‘Xilo’ has a guitar that sounds like it were taken from a western movie soundtrack. Maybe you like such sounds after all?
Gui Boratto: Yes, you are definitely right. Actually, I had some western/ bang-bang style videogames that really inspired me to get that sound. I used to play guitar for years, and I still have my Fender Telecaster. I love to use it on my productions. I love the tremolo sound.

Sound Revolt: On your MySpace profile Vincent Clarke is right after Leonardo Da Vinci and before Martin Gore. Is this a coincidence or do you admire Vince more than you admire Martin? I’m asking because I’m definitely a Depeche Mode geek rather than an Erasure or Yazoo fan.
Gui Boratto: It was a coincidence. But you can’t compare them. In my point of view, Clarke is an incredible synth programmer and producer while Martin Gore is an unbelievable composer. They are really different. And, I’m the same as you. I’m a DM geek as well. I don’t like Erasure much, but I still love Yazoo.

Sound Revolt: How many tracks did you have ready at the moment you decided to release music on the underground dance market? I assume you were making some stuff and putting it away until you decided to focus on your own productions?
Gui Boratto: Exactly. I’ve been producing techno since I began. But I never released them. I don’t know how many tracks, maybe hundreds of them.

Sound Revolt: ‘Chromophobia’ – why the name?
Gui Boratto: The same meaning as monochromatism in architecture, which means simplicity. That’s all. I don’t have a morbid fear of colors at all. But also, I was ironic. My music is really colorful.

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