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MORPHEUS MUSIC INTERVIEW - KRUSSELDORF

20.05.10 - on release of Bohemian Groove

 
    KRUSSELDORF - BOHEMIAN GROOVE  KRUSSELDORF - BOHEMIAN GROOVE  KRUSSELDORF - BOHEMIAN GROOVE  KRUSSELDORF - BOHEMIAN GROOVE   
 

KRUSSELDORF - BOHEMIAN GROOVE  KRUSSELDORF - BOHEMIAN GROOVE  KRUSSELDORF - BOHEMIAN GROOVE  KRUSSELDORF - BOHEMIAN GROOVE 

Q: We always like to know how artists got started – what’s your background story?   I went to pianoschool at a really early age, but grew tired quickly of playing other people's works so I started making my own gradually. Everything changed when I discovered my first Tracker program on my older brother's amiga and hooked up my 1$ microphone to it. The music I made was all about atmosphere and a few years later I found out that genre was called "Black Ambient". Now at that age I was around 10-12, I never stopped experimenting in my free time and when the big metal era came I stared playing bassguitar in a band. Frustration kind of grew since my band wanted to play coversongs, I spent my free time writing my own material and spent all my money on buying studio equipment.
Cubasis saved me, I started recording everything from bass, electric guitar and layering electronic drums and sounds ontop of it. It sounded very Rammstein.
Fast forward, a lot of mushrooms later and the new millenium is here. I am making GOA/Psy and funk-chillout playing at Raves all over Scandinavia with the Knaprika project I started with Donald Persson. I am working with Simon Kölle and Donald Persson with Za Frûmi, the medieval/fantasy project which got a fantastic reception because of our odd take on what abstract music could be, blending bombastic compositions with classical instrumentation and field recording all over europe with film typemicrophones and portable DAT-recorders and not least a storyline spanning 3 albums with dialogue in Black Tongue (the tolkien language of orcs). This resulted in a 10 page article in Wired Magazine (which seemed huge to us at that time) and later got us featured on Swedish television's annual celebration of classical music, with the famous Swedish Radio Orchestra performing our work. More importantly these times showed me how much fun making music could be, travelling all over with friends discussing sounds, vibrations and techniques and creating a world beyond our own.
It was all very non-rock n roll, just laidback, friendly and
philosophical.
In my free time during all this I worked on the solo dark ambient project Atrium Carceri which got me right back at where I started. This time creating far more complex landscapes of abstract noise and using my knowledge of field recording to great effect making Atrium Carceri what it is today, one of the leading acts in the genre with 6 albums released. Za Frûmi was worked on during this 10 year period as well spanning 8 albums and sometime during all of this, Knaprika was slowly put on hold and in its vacuum Krusseldorf was born.
  Q:  What was the plan when you began the Krusseldorf project?   It was mainly an outlet for my downbeat and more laidback styles of music I always have produced. The first demo I sent (due to DJ Bakke pointing me in the right direction) got me signed instantly at Iboga Records and I could focus my time in the studio instead of promoting myself. I believe you should really work on your details if you want others to listen to your music while creating something unique and Krusseldorf has always been about experimenting and creating something new, reshaping old genres or creating all new ones.
The only foundation of what Krusseldorf is for me personally, is that I should be able to listen to it in a pitch dark room and be taken to a world beyond the physical.
Krusseldorf as with all my other projects is based on my musical philosophy that all music should be visual, that is also a big reason I dont play many livesets since what you see misguides you from what I believe you should experience behind closed eyelids. I have always prefered listening to music alone and in the dark rather than at concerts and when producing I always do it night time which has resulted in my awake hours ranging from around 4pm to 8am which is perfect in Sweden as we have so many dark hours each day.
   
             
Q:  The current album has a beautiful, serene warmth to it – what influenced the creation of Bohemian Groove?
 

I thought the name was kind of obvious if you remove one O from a certain word.... but it is about hope after all although the strong anti-NWO theme is still there. What influenced me is to question everything we see, hear, smell, think and so on. Humans think we experience everything around us so well, but our squinting jelly eyes can't see very well, our muffled ears have got a very limited frequency range, our smell is close to nothing compared to other beings and our thoughts are basic compared to what they could be and so on.
There are other worlds out there and people listening to this genre of music have most probably already opened up the mind's eye to be free from the shackles of seeing just our own personalized bubbles of worldview. I wanted to create an album free of all image and ego, an album inspiring hope, dreams and enlightenment.

  Q: Can you tell us a bit about your favourite gear and your recording studio?  

It has to be all my microphones, it sounds boring but they are fantastic. I could mention my guitars, synths, kaos pads, my very homely keyboard but the microphones have a very special place in my heart. I am still using a Röde NT1 for acoustics on many tracks for that kind of special hollow sound.

             
Q:  When you make your music – how do you begin – what gets your compositions going?  

It is always a visual representation, very hard to describe but it comes very natural laying down of beats and melodies. The work begins really when trying to solve the problems that all producers battle with such as Harmonic/Disharmonic problem solving, cutting frequencies trying to hold on to the characteristics of what you are using your surgeon skills on to make room for new transplants and so on.

  Q:  What would you say is the hardest part of making music?   Problem solving and trying not to mimick other artists, which is a reason I try when working on albums NOT to listen to other artists in genres close to what I am producing.
             
 
     
Q:  What have been the best bits of feedback you have received on your music so far?   When people get really into it and get what I am doing like the following bit (from an Atrium Carceri review at Heathen Harvest): Ptahil in the Mandaean cosmogony is one of the three beings responsible for the creation of the universe. A very fitting name, as this is exactly what every Atrium Carceri release does, it dips its fingers into the primordial clay of the unconscious, of the dream shapes, the outer planes, and haphazardly finds there the material to create a new universe, out of what originally appears to be non-existent, unknown, and perhaps a little frightening. So the best way to assimilate this experience is to fall into a somewhat meditative state, forgetting everything related to everyday life, and to let this curious deity carry you in a journey through its newly acquired domain. After a while the images take form spontaneously, naturally, and if they are enough they might even complete a piece of the puzzle. If not, the general idea is still enough to be fascinating. Taking the first steps in this virgin landscape, a female voice invites us further in, in a foreign language, with a melancholic yet appealing chant – it sounds Slavic but truth be told, I couldn’t recognize the language. The chant has a deeply ritual, religious character. As it vibrates, intensifying, organic sounds are introduced and we are led inwards with thumping beats, crackling sounds and horrifying whispers, by all kinds of creatures residing in the shadowy corners of this corridor we are traversing.
Shadows made more intense by the scarce rays of light that fall on the rusted, metal doors and walls. As we proceed someone laughs ironically, at our slow realization of the kind of place we are in. The doors extend some distance away on both sides of the hallway, patterns of rust and mould forming on their surfaces. Faint moans heard from the inside, insinuate the suffering, the modifications taking place in each of the cells. It feels familiar, somewhere we have wandered many times, many centuries, many lifetimes ago
  Q:  How involved do you get in promoting and marketing your music?
  Not very much, I have one interest and one interest alone and that is working in the studio, the rest is why I have labels I am working with. If they did not promote and market my music I would probably start my own label and release my music there.
             
Q:  Do you have any interesting stories around the making of Bohemian Groove?   When we recorded Pouncer, the dramatics of the composition and idea was so strong that I had to leave the studio for almost an entire day because Carolin Terzian had to connect and get "into character/enlightenment" while recording the vocals. She always does this, no one is allowed to hear her sing while recording... she draws on some mysteria and you can hear the magic in that track very well.
  Q:  What are you involved in currently musically?   Krusseldorf, Atrium Carceri, Za Frûmi, Knaprika (yes we are doing something soon again dusting off the old project), Preponderance (almost, but not completely abandoned dubstep project from a few years back), Dorf Unit, Alembic, Sojobo, Abnocto (we are talking about a new album), Couchlock, SOC and my Krusseldorf Collaboration with Iboga mastermind Michael Banel.
As you can see I spend all my time in the studio which makes my annual 3 month vacation so much more appreciated.

Be free brothers and sisters!

Thanks to Krusseldorf and the guys at Beats & Pieces for allowing us that interview.

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