A recent discussion with Kimyan Law set the scene. It set the scene for the ep, and for his relaxed & energised outlook to music creation, sure.
But also by implication, for the impending album, Coeur Calme. What else would surface, and what hints and tremours already sensed in the ep would be expanded upon when the ‘play’ button was pressed? The time felt right to discuss the album that, if it was a dwelling, you’d duck in there, get near the fire, thumb through a great book or two and get totally absorbed in the surroundings. With that in mind, it was pretty apt to strike up a conversation with KL himself.
What would be a way to introduce Coeur Calme to those who encountered you via the recent ep?
The album has a certain concept. It thematises my childhood, from the point where I looked back and saw blurry pieces of the young me. I processed the recent years and everything that caused me to be who I am today.
You use so many lovely sounds in this, so many ‘naive’ instruments… what are some favourite instrument choices and why?
String instruments are my favourite, and everything orchestral like harp, guitar, violas and cellos.
A combination of a couple of instruments can be very unique and interesting to try out. Some compliment the percussion easily, but some can also ruin the track.
Such instruments you use may have something in common with some artists that you cited in the previous interview… people like Bjork, some of the ‘leftfield’ people. So would you see yourself as ‘leftfield’ in D&B? Or is it just ‘music’, regardless of genre.
I would say my music is just a different style from what people are used to when hearing words/phrases like ‘Drum & Bass’, or ‘EDM’. On the other hand it depends on whether the listener considers my music to reside in those genres or not – and therefore I think it’s just ‘music‘.
Can we talk about a tune from the album? ‘Daimyo’? How it came about, things that occur to you when you listen back, any stories you have.
The inspiration for this were cold days in winter, loads of Asian movies about old dynasties and African drums. I wanted to combine multiple ethnic sounds with D&B, and that’s what came out.
I love to think about recording sessions in time: is there an album in your collection, or in the house when you grew up, where you wonder what the sessions were like?
Difficult question. The only thing that comes to mind right now is ISAM by Amon Tobin. Can’t imagine what the recording session would be like! Just listen to it, and you’ll know what I mean.
More on recording: do you like being in the studio? Is it fun or toil.
I like being where ever I get inspired and staying there until I’ve got a sound sketch. Studio time is concentration time – sometimes I find it exhausting, sometimes refreshing.
It really depends on my state.
Back to the album. Could you discuss ‘Cherry Lane’?
This is a tune I composed for my little sister. We were both born and raised in the “Cherry Lane” in Vienna. We share many memories and so tells the tune. Love and shouts to her!
Speaking of time and place: what period of history would you like to be teleported back to and where/why?
England, 19th century. I like the atmosphere, the weather, the outfits, everything… or at least how we portray this era to be. The parties had to be massive, therefore maybe for a few days.
Can we talk about ‘Vita’?
Sure we can. Everything in this is made out of pure joy. This was perhaps the most emotional melody I ever wrote, regardless of the length of it. It’s very important for me, the concept of Coeur Calme and I consider it in some ways the main tune from the LP.
So what one single sentence sums up Coeur Calme?
Hopefully there is no single sentence that can describe it.
Do you have live dates, and plans to play this stuff live? Would be ace.
Tons of plans, or let’s say: wishes and ideas. I have my first UK set at Hospitality at Building 6 in February.
Aside from that, I’ve said it once, and I’ll say it again: Expect the unexpected.