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Dylan [Freak, Obscene, UK]
 Dylan [Freak, Obscene, UK]

ϳ DESTRUCTION. Prologue, 16/12/2006, "S.Dali",
interview [ua]

Interview with Klute
18 June 2006, Lviv, Ukraine

backpacker: Id like to start with general impression about the party and your visit to Ukraine. How was it?

Klute: It was good! I very much enjoyed playing. What can I say; I really dont know how to express it People are very friendly here.

bcpk: Whats the difference between people in for example England or other countries where youve played and people in Ukraine? Can you see some difference in perception, going crazy, whatever?

Klute: I guess the main difference is that its much more East: I kind of look and find the further East you go throughout Europe, the less jaded people become. So, you know, youve got London where people are kinda bored cause they got so much of it and you come this far East and people havent had so much exposure to the music, they are little bit more excited about it.

bcpk: Maybe they are not so fed up with that?

Klute: Yeah, fed up thats what jaded means.

bcpk: Youve played a wicked set yesterday and Ive recognized just 5 or 6 tunes or so. Can you please tell a few general names of what youve played?

Klute: Ive played a lot of tracks from the SKC album which is coming on Commercial Suicide. Must have played maybe five tracks from that one. I think, what else Break, few things from me

bcpk: Forthcoming or already released?

Klute: I cant remember.

bcpk: There definitely was Come back to me released on Soul:R

Klute: Youve got a better memory than me!

bcpk: So, Ive got a question concerning your debut on Soul:R: how are you feeling it? Maybe theres some particular story behind those tunes?

Klute: Not really. I guess the story is that Ive been friends with Marcus Intalex for a long time, and Dominic, and ST Files So weve been good friends for a while. And weve also been trying to do a record for a long time. But that was always the case that if I gave them the track that Ive been thinking of, maybe they didnt like it or they heard the track they wanted and I was doing an album or something. Im trying to think back if there was stuff that Marcus wanted to put out on Soul:R stuff on Noones listening anymore that he wanted to put out. And we even collaborated on Make a stand and that one maybe was gonna come out on Sour:R. But then it finally maybe this track is not with Soul:R in mind and just a track that I made

bcpk: Do you make tracks keeping in mind for what label you are doing them?

Klute: Sometimes I do, like I did with Hospital.

bcpk: Have you actually did a track keeping in mind that it must be within the framework of Hospital?

Klute: Yeah, I guess. I mean sometimes it doesnt work, sometimes it does

bcpk: Is it tough when youve got a framework you have to fit into?

Klute: No

bcpk: Because you stress in the interviews on being different, thats why Im wondering about that framework limits

Klute: No, not really. I just cant help it being a little bit different thats my nature.

bcpk: What about the difference between singles and albums you are doing? Are albums a kind of message you want to deliver rather then singles?

Klute: I suppose thats the equivalent of writing a book and a single is like a magazine article. Its like that.

bcpk: Nice definition indeed!

Klute: Its a bunch of chapters instead of, say, one chapter

bcpk: Ive read about your punk past and as far as Im concerned your punk attitude persists: like everythings imposed (news, politics etc) and you are rejecting all that stuff. Does that hold true?

Klute: Yeah, pretty much, as much as I can.

bcpk: What form does your rejection take or its just inside your head?

Klute: Yeah, a lot of it is just inside my head, but I guess more than anything its about questioning question everything. I have the problem with the process - things in life become like this is how its done. Maybe, you know, you go to high school, you get a job, and then you finish working for the day

bcpk: Like the predefined process?

Klute: Predefined process, yeah. I was just finding a good word to describe it. Normality, the process of normality.

bcpk: Who are you by profession? What education have you received?

Klute: I left school when I was 16 so there was no high school education. I didnt do any college or anything. My sister tells me off the thing I dont believe in education, because its an ignorant statement, because education exists, so I cant say I dont believe in it, but, you know, Im not into it This is coming from an English perspective, because when you come out to Europe education is obviously much more important.

bcpk: Do you feel dubstep stuff? It came to the forefront during the recent years and its being like something completely different

Klute: Well, its an interesting thing. I was very interested in it before it became popular. For me it was like loose cannon. It was something that was out of control, a little bit different and showed the possibilities of, you know, being truly open. But now I think because its become more popular, its become a rule-book like any other subdivision or genre of the music. Once it became established, there are rules and this is how it is. And to progress within that you have to build on the set of principles which to me is fact of life, but its boring and I had enough of this in drum&bass or techno or whatever. Yeah, its the process And for me its a bit disappointing, cause to the certain extent its the same thing all over again Its now been recognized and a lot of the music sounds the same like each other. But there are definitely some individual people like Kode 9, Digital Mystikz, Loefah I cant remember who else got in this the tremendous amount of sounds is cool sound

bcpk: What about other dnb-related subgenres? Which particular subgenre are you feeling or some producers that are moving the sound forward?

Klute: SKC, I think. I respect some musicians in music Within dance music its very easy to make dance music, so I think when a musician makes it you can tell it they are bringing melodies and stuff like that. And thats what I appreciate a good tune is a good tune and to me its tribal, isnt it? I have a problem of being tribal within drum&bass.
I like drumfunk or I like some techstep or neuro or whatever for me to make statement of this is what I like its cutting down everything else. It becomes something beyond the music if you say that you belong to something you know, Im a drumfunk fan and I go to the Streetbeats forum, SubvertCentral - for me its a little bit close-minded.

bcpk: What about Amits stuff? Do you consider it to be very progressive or hes drifting away from d&b into his own realm?

Klute: No, I just think its a bunch of music.

bcpk: I read the discussions at www.breaksblog.biz where some people claim Amit to be pushing the d&b sound forward, something like the future sound of d&b, while others say its not d&b at all

Klute: Its not a future of d&b Another interesting one is that people will say its not d&b The statement its not d&b I find kind of disturbing its being set in a closed way to say its not d&b. It brings the question what is d&b? You know, its some guy doing his thing thats all it is. Its hardly stockhousing and I find it very interesting that some people are so mystified by it, you know, its not rocket science, its just music

bcpk: So there are no strict criteria for the tune to be released on Commercial Suicide: has it just to be original and different?

Klute: It has to be something I like.

bcpk: Is Splendor still favourite tune produced by yourself?

Klute: Yeah, I dont know, maybe

bcpk: I read somewhere that each time you listen to it you hear something new over and over again

Klute: Yeah, for me its a I dont know the word to describe it For me its something that gets into my head, something transcendental. Yeah, its a mental tune to me.

bcpk: Let turn to music accessibility on the Internet: you claim that people often have the tunes prematurely when they are not expected to have what they have or can download a mix and consequently they are not very interested in going to parties, because theyve already heard the tunes How do you adress these issues? I rarely notice mixes by you on the Web, the recent one was a showcase for some radio

Klute: Yeah, I did one for Pyro radio Yeah, I think the music is a valuable thing. You know, good music is valuable. And I think its very easy to get a hold of this music and therefore not appreciate its value. I dont know Ive grown up appreciating the hunt to find music. Like theres a good record and the shop hasnt got it and I go to another one

bcpk: But lets take for example Ukraine where we have practically no record shops etc. Where are we expected to get music? I think if it wouldnt be for the Internet we wouldnt know what d&b really is

Klute: Well, thats certainly true, but I think probably that average people in Ukraine maybe appreciate the difficulty of getting things a little bit more, lets say than an average English person or American, which are used to having everything they want right now. And if they dont, whats the f**ken problem? And for me the point is the institutionalised greed that the Internet promotes. You know, how come I cant have this right now?

bcpk: What about Internet-labels that are releasing either free music or Strictly Digital who put out releases only in mp3?

Klute: Its up to them. I guess its the way of the future.

bcpk: What do you think will be the balance between digital and vinyl media?

Klute: Im not a big its gotta be vinyl kind of person.

bcpk: Guys in In Hospital video stress that its not good to play of CDs when you can afford not to, when you can cut your set

Klute: I dont agree with that.

bcpk: Like the point is in the content, not in the media? The same point like in making music: whatever you use hardware or software, the point is what you do and not how?

Klute: Yeah. The argument is that its, by example, like if you are a big name DJ and you show up playing CDs, then kids will copy what you do. And I think thats really a kind of patronizing viewpoint, very condescending way to look at things.
You know, if I see Jeff Mills DJing with CDs it doesnt mean oh, Im gonna play CDs. Its a matter of convenience: I play a lot of music that isnt released and I dont really want to cut those on plates because some people think that if I play of plates I gonna promote vinyl, but they arent records anyway. I think it has an effect on whether the record sells or not. That brings the challenge if its good, people want it.

bcpk: Last time I heard you playing in Leeds in November 2003 you were using Final Scratch. Arent you using it now?

Klute: Yes, I dont. Its not stable enough. CDs are more stable I think.

bcpk: What about software versus hardware issue? You were known as a hardware addict, did that change as for now or not?

Klute: Yeah, kind of Ive got G5 and Im using Cubase SX. And I think it sounds pretty good. It doesnt matter what you use. I guess the downside of software is that it democratizes the process of making music, so you have a lot of not so great music that sounds pretty good. And I think that causes the depression in the scene.

bcpk: How much time do you spend in the studio? Whats the balance between work in the studio, touring and, say, free time?

Klute: I dont know.

bcpk: So are you touring a lot?

Klute: Oh, it depends.

bcpk: What about this year?

Klute: Not as much as the last year, because I had an album out. So last year was very busy. You know, usually its about a year that youve already done an album, you get around the world.

bcpk: What was the most exotic place where youve played?

Klute: New Zealand. The party was basically in the mountains, a two-hour ride from the city. It was nice. I guess some people were getting there by helicopters smile.gif.

bcpk: When you are not at the gig, when you are not in the studio, what music do you listen to for your own pleasure? What percentage of it is d&b?

Klute: Absolutely all not d&b for pleasure: anything from punk-rock to reggae, soundtrack music, hip-hop, classic rock, everything

bcpk: As far as Im concerned you havent been known for much collaboration with other producers. Do you prefer to work alone or can we expect more collabs? I remember you and Marcus, you and Calibre

Klute: Yeah, Ive done a fair bit of collaborations. Me and Marcus, me and Calibre I did something with Invaderz which never came out John Tejada, Ecco quite a lot. It depends. But I do prefer to work by myself.

bcpk: Whats the process of musicmaking in your case? Is it planned like you have idea in mind that it has to like this, this and that and then you just sit down and put it into life? Or its about the process of experimenting and the track evolves as youre doing it?

Klute: Yes, the latter one.

bcpk: I wonder whether some people can imagine the whole track in their head and then just bang! and its ready

Klute: I think some people are like that, but for me it just evolves as Im doing it.

bcpk: Do you make for a living only by making music, nothing else?

Klute: Yeah, nothing else: just making music, running a label and DJing.

bcpk: Are you OK with that?

Klute: Oh, yeah.

bcpk: No complaints? smile.gif

Klute: Definitely not to complain, because like anything when you do it so much sometimes it becomes very tiring, but now its great.

bcpk: Can you say that you were influenced by other genres, some particular producers or its just all about doing a different thing?

Klute: I am, but in a very obscure kinda way. Ive obviously been affected by the music Ive grown up with, but I cant say exactly what it is.

bcpk: Is that something like indirect influence?

Klute: Im just not aware of it, its something subconsciuous. I guess a lot of punk-rock, a lot of melodic music that just tricks in it obviously comes from somewhere, because its the reason I do what I do. But its not just that I sat down and understood it. Maybe thats something I will do when I become older recognize that

bcpk: There is the case of bringing guitars into d&b. Whats your opinion on that?

Klute: Well, whatever. There is definitely some cool stuff that has been done. I really like that Concord Dawns track Raining Blood that is basically a Slayer cover and I like that. And like a learning curve I sampled quite a lot of guitars. Yeah, its fun.

bcpk: What are you devoted to in life except music?

Klute: Nah, nothing smile.gif Skateboarding and cats those are my hobbies.

bcpk: Youve mentioned the forthcoming SKC album; what else can we expect from Commercial Suicide in the nearest future?

Klute: Its gonna be a single from Break and a single from the guy called Insight, a new producer from England whos got stuff coming out soon. He signed stuff to Digital Soundboy and I cant remember what else Yeah, those two and there are a couple more in the pipeline.

bcpk: You are receiving loads of demos. What names can we want out for in whom you see potential?

Klute: Theres a guy from Leeds called Mista. Hes kind of a little bit crazy, but hes definitely got something good. Developing that, the guy Insight is very good.

bcpk: Whats the most important moment of your work?

Klute: I cant answer that, but I guess my favourite feeling is when Im almost done with the track. The process when you are putting the cream on the top of the cake.

bcpk: Whats your opinion on the current state of d&b? Is it progressing, evolving or digressing with that variety of subgenres when everyone claims his music to be another original genre?

Klute: Oh, I think its in the terrible state of complacency at the moment. Its dreadfully dull, normal and everyone is convinced they are doing something different, but they are really not. And thats why you get the situation where people are looking for an easy way out like Dubstep is the answer for my prayers. This is great! I was looking for something new to get into it. Or, you know, people go on that Amit is so different, but its not Its just the guy doing his own thing.

bcpk: Do you consider drumfunk stuff to be very different? Do you like it?

Klute: Not particularly, because its not something new. Its just another kind of music. It is very difficult to sound new; it takes a lot of imagination to do that. And Im not sitting here saying: Oh, Im doing something, because Im clearly not, although I do make a lot of different styles of music, but I didnt come up with some kind of special formula that is changing d&b. I just think its very dull at the moment and I think it shows. People are getting bored of it, especially people thatve been around for few years. There are definitely a lot of new kids very excited and very happy with whats happening and get insulted when people suggest that there are any problems. You know, Ive been around for a while and know a lot of people whove been as well, and we can see that theres a lack of morale in those circles.

bcpk: Does it lack musicality and soul?

Klute: Whatever, theres definitely some stuff that does, but its not like everythings on fire.

bcpk: What about stuff released on Offshore, ASCs stuff? Do you consider it to be different or dull?

Klute: They dont do anything for me personally Its different like Clipz is different, and Clipz is different than ASC. You know, what makes one thing better than the other? To me they are about as inventive as each other. Its one guy doing one thing and the other doing something else. Neither of them is better than the other. One of them obviously sells the hell of a lot more copies than the other and in the current climate, in the consumer society thats recognized as better.

bcpk: Ive read that ASC, Polar, Pieter K complain about not selling enough copies and that hampers their musicmaking. Like thats the problem with marginal d&b or how you call it. I guess Pieter K just quit production because of that

Klute: Yeah, hes busy with other kinds of music. But I guess the question there is why do we make music? And some people will say that artists are needy people that are doing it because they demand attention or appreciation. And this is something that I was constantly questioning myself: why am I doing this? Am I doing this for me or am I doing this because I want approval

bcpk: And did you find the answer?

Klute: No, I havent. Its somewhere in between the two. We all go through the periods of knowing and appreciating what we do and it creates that kind of block and it becomes difficult to make music. I think that everyone will admit that its exciting when loads of people say: Yeah, we like your new track! It propels you to make more music because yeah, youre excited.
But its interesting what happened with Polar, the fact that he stopped making music eventually because he didnt like where d&b was going and he felt like he was underappreciated.
You cant force people to buy music; you cant make them buy your music. And its never gonna be down to the fact that oh, there are too many online mixes; its all over because people do more CD-DJing Who knows whats gonna happen? Its not just one thing, its just a space of what is happening and whether it makes any sense

bcpk: Any final shouts, concluding remarks, some point you want to make or whatever?

Klute: You know, something I really miss is the time when there were no Internet d&b-forums, it made the whole thing a lot more mysterious and so much more exciting. The process of finding new music was slower. Therefore youd have more time to appreciate the music instead of, say, getting 5 new mixes the other day and another week 5 more - all the information. And now even before reading a magazine or hearing some gossip you can easily find those unbelievable news Its not necessarily a bad thing but it just changed everything and we have to adapt that, but it certainly had accelerated everything. I think this is probably why everything to this ground has just stunned the whole process of music in all the genres. That fact that theres so much of it available all the time really quickly has thrown everyone into like Oh my God! You know, I have so much music, thousands and thousands of records, CDs and loads of download stuff to check out Well, it is way too much to know what you have, what you like and what to do with it. And its difficult.

bcpk: So where do you draw the line between the stuff you gotta check and what is not worth checking at all?

Klute: You cant, its all by chance. Even with getting demos Ill get a demo and flick it on and go Nah and then 5 months later hear that track in a different mindset and go This is great! Its difficult, its just the way too much But then it has to be really good for it to beat that competition. Yeah, well see what ultimate effect all this will have. Well see what the results are
Its interesting. I read a lot of Brian Eno has to say about music and culture and stuff like that. And his viewpoint about 5 years ago was that the music is going to cease to be an artform anymore and that itll basically just gonna be a commodity. I thought that was a little bit negative viewpoint but to some degree he is right. Look at the pop music: music here is the secondary factor, whats there is the name, the image, the brand, the package Its like the bottle of Coke, its a little bit of sugar water in there, but you know, the way the bottle looks, the red and white logo thats what you are buying.
But its not also healthy to say its all wrong or bad, its just something we got to adapt to Just go and get the job if you dont like it smile.gif.

bcpk: Thanks, was a pleasure to talk to you.

Klute: Thank you.

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