Atiramo is the music and visual art project name of Oren Atiram. On March 2017, he started his first step in digital music production by using GarageBand for the first time. Four months later, on 17 July 2017, he released his first album “Four of Wands”.

Melodious dance retro like electronics, with a strong influence of classic and psychedelic trance music combined with some acid elements, dark synths, repetitive techno strategy and progressive house aromas, and as a result, very interesting and unique aftertaste.

In all of his vocal songs, he manages to embed basic vocal loops to his own original instrumental tracks and turns them into a real vocal song.

YMX: Hey Atiramo, thanks for talking to us. How have these gloomy times been treating you?

ATIRAMO: I try to make the best out of it and uses the extra time for renovate my garden (I have just finished building a raised garden bed with support to climbing veggies). I also continue making music and visual art design. My recent visual work is a new design inspired by “Alice in Wonderland” to one of my first songs, “Allegorical Tea Party”. I really liked the idea to “crown” the elephant and the mouse while they playing chess (the game of kings) and vaguely implying the “presence” of the queen of hearts. I also like the cheese cubes that look like dice and empower this psychedelic dreamy fantasy environment.

YMX: How did you decide music was something you wanted to pursue?Are there any particular episodes that inspired you in doing so?

ATIRAMO: Since I was a child, I felt very connected to music, especially electronic. I was born on 1975 and my first music memories were at the age 4-5 (the early 80’s) as a passive listener. When I was 10 years old, music became my new hobby after drawing. I used to listen to radio shows mostly pop charts, while drawing pictures or doing homework for school or doing home physic exercises or simply dancing alone in my room (door closed and full volume). On weekend I was listening to dance radio shows that played pop dance hits in maxi single and club versions. I used to record my favorites songs from all those radio shows and then used my simple double cassette tape recorder trying to “mix” them together as smooth as I could. It was like a challenging game for me to find the best spot for sudden switch between the songs. In 1989, when I was 14 years old, I went to a teenage disco club for the first time. I immediately fell in love with the power of the electronic dance-pop sound resonate in that mysterious dark flickered environment of a club. It was such a powerful and exciting almost mystic experience for me, that I remember it as if it was yesterday. The club name was Alcatraz and it was open on every Saturday night from 20:00 until 23:00 for teenage only. On the B-side of the invitation was the club logo, a beautiful graphic design of black and white drawing of two hands breaking up the chains, which really enlighten me with what I’ve always felt about music, the idea that it can be the simplest way for having self freedom moments. I even remember the song that was played the moment I’ve opened the doors of that basement club. It was so perfect in timing and vibe that bouncy piano of “I Can’t Stand It” by “Twenty 4 Seven” to be chosen by chance to be the welcome song for my first time experience in the club scene (I met again this kind of irresistible danceable energy from a song, two years later, when “BlackBox” released their track “Strike It Up [Hardcore Remix]”). This experience was so powerful that on the next day, I drew that logo on my bedroom wall with anticipating shiny eyes waiting for a replay.

Apropos, 3 years later, I drew next to Alcatraz logo the artwork album of “Snap”, “The Madman’s Return” with the same black & white design. (

Since then, I never stopped enjoying this kind of entertainment, so as a clubber, in the early 90’s, who loved to dance to the sound of electronic music and find pure moments of freedom, I had the chance to see and really feel the evolution of the electronic club music. From dance-pop disco music to eurodance music until trance took over and become the main electronic genre even in indoor clubs. In my experience and memory, the tracks that symbolize for me the most the transition towards trance music were “Power of American Natives” by “Dance 2 Trance” and “The Age Of Love (Jam & Spoon Watch Out For Stella Mix)” by “Age of Love”. In most of those “early” Trance tracks you was able to recognize the roots and feel the techno and the acid house influences which made me love and connect to trance very easily. This change reminds me also the changes of the clubbing experience, from the indoor club parties that I’ve already known and loved to the new outdoor trance parties in the wide open air. It was then when I realized that the same old idea of music as a way of freedom finds its meaning again and this time even in a whole new level of music and dance experience.

YMX:  Here’s a fun game: name 3 artists, or bands, that inspire you and influence your work, and explain why:

ATIRAMO: There are so many inspirations from so many genres and artists. For years I used to collect all of the music I loved.

I first had tape cassette collection that turned to be a CD’s collection that turned to be a removable hard disk that was exist until 2010 and vanished one day. It was so devastating and since then, I always try to retrieve old songs from my past which I vaguely remember. Just recently used the extra time of the first Covid-19 lockdown to save most of those whom I found and categorized them into many playlists by genre on my spotify profile from bossa nova to hard rock and many more (My pop playlist there is the biggest and contains more than 450 songs). And still there is music that couldn’t be found on spotify so in this cases YouTube seems to be “the savior”. It is so satisfying to find lost songs, especially songs that took you so long and so many tries to find. I should mention some of them here as well. I think because they were hunted in my mind, they must had some kind of hidden subconscious inspirations on me.

Mark Almond – The Sensualist

The Charlatans – The Only One I Know

The Icicle Works – Little Girl lost

Natassa Theodoridou – Tora To Thimithikes

Matthias Gehrmann – Time Is Right

Mirjam’s Dream – Take A Look At Me Now

Gary Clail – Human Nature

Tuti Kanta – Wal Wazil Wal Wa

Deuce – On the Bible

Bomb the Bass – Megablast

Confetti’s – C in China

Tony Di Bart – The Real Thing (Joy Brothers 7” Dance Mix)

Dj Marco Bailey – Dreamwaves

Elusive – Movin on (Kinetik duo & Gabriel Cage remix)

Prince Quick Mix feat. Ekaterini – Everyday (Circulation Mix)

And now for the fun part of the influence and inspiration game:

Depeche Mode for dark synth spices and deep addictive voice

Michael Cretu for creativity, talent and rich epic electronic productions

The KLF for innovational sound, diversity and their white room

YMX: You will release soon the SINGLE ‘Breathing Time’. Can you tell us how that project came about?

ATIRAMO: The pandemic made me thinking about the time as a motif. After releasing “Time to Waste” that describe the time as a challenge (“…Too much time to waste”), “Breathing Time” allows emphasizing this challenge idea by metaphors oxygen with time (“…We’re breathing time”).

YMX: How did the pandemic affect your personal music recording experience? Was it easy adjusting to working remotely?

ATIRAMO: So far all my songs made solely by me, so it doesn’t have any effect on my creation process or the production experience.

YMX: Professional livestreams seem to be really taking over these days. Is it something you would consider doing?

ATIRAMO: I don’t think I’m ready yet to perform live show in general so consideration about livestreams is not so relevant for me now.

YMX:  Since pandemic began, online music promotion has become crucial for an artist’s growth. How important is that for you, and are there any strategies you are willing to share with our readers?

ATIRAMO: I think it has become crucial even before. Since “Streaming” began, online music promotion is a must. I don’t have any special strategies. I use facebook and instagram but not as much as I should so I also use platforms like SubmitHub and MusoSoup.

YMX: Finally, what are your plans for the future? (releases, gigs etc.)

ATIRAMO: I’m working on a new song with influences of ethnic and oriental vibe and I have some new trance tracks in process, one of them has also oriental fingerprint.