#kess kill

Jonas Abrahamsson, Carl I Carlsson ve David Sundquist’dan oluşan Göteborg’lu Vanligt Folk Kess Kill ve Kontra etiketleri ile Hambo albümünü Eylül 2018 sonlarında yayınladı. ‘’common people’’ anlamına gelen isimleri ile garip elektronikler, düzensiz vokaller ile electro-endüstriyel denebilecek bir müziği İsveç folk dansı Hambo ile birleştiren Vanligt Folk’un albümünü aşağıdan dinleyebilir ve bandcamp aracılığı ile edinebilirsiniz. Vanligt Folk - Hambo

The ninth edition of our podcast is selection of cyberpunk sounds mixed together by Rivet, the technician behind warped body-moving releases on Skudge and Kontra-Musik, among others; head of the darkly glittering Kess Kill record label (http://kesskill.bandcamp.com/); and the discerning ear that animates the absolutely indispensable Rivet Selects blog (http://rivetselects.com/).

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ST: You’ve been producing your own music since the early 2000s, first as Grovskopa and then as Rivet, and during each phase you’ve also run a record label— first Emergence [+sublabel Pohjola] , and now Kess Kill; yet not every producer also wants to run a label! What has led you to want to simultaneously produce and distribute music, and how do you balance these roles? 

R: I started DJing in 1996 and producing shortly thereafter, but my first record  was indeed in 2001. However, there's an album of earlier material just released on Convex Industries, spanning back to 1998 (https://convexindustries.bandcamp.com/album/convexlp004-hilt ).

One of the main drives behind my DJing has always been to share all the amazing music I spend so much time and energy on finding. Running a label and releasing records is driven by the very same force— and the will to give well deserved talent room to shine. It all happened organically, just like producing did.

ST: You’ve talked in the past about Kess Kill’s launch being inspired— at least in part— by underground electronic music from the late 70s and early 80s like Liaisons Dangereuses and Tommi Stumpff, and the first two releases have featured new and reissued material, respectively. How does the sound of the reissued material influence you when you’re choosing which contemporary artists you choose to work with?

R: Yeah it's fully inspired by that! The Liaisons Dangereuses LP is the one record that defined my perception of "techno" the most. It's more techno than techno itself, nearly a decade before techno music was a thing. Furthermore, the music from the same era and movement really resonates with me with its fusion of man and machine. It's got so much blood and sweat, which is something I often miss in contemporary techno. But it's also got that mechanical drive that indeed makes techno special. I think the style still had so much to give when it was transformed into EBM, losing much of the humanity. Kess Kill exists because I want to tap into that forgotten vein and taste the nectar.

ST: What can you tell us about upcoming Kess Kill releases?

R: KESS03 is just announced and it's an EP by Swedish longtime EBM/body/industrial stalwart Celldöd. I've always been a fan of his productions though they are usually a bit more EBM leaning, but when I heard 'Falska Gudar' (eng: False Gods) it was an immediate infatuation. It's dead-on Kess Kill sound. (http://soundcloud.com/kesskill/sets/kess03-by-celldod)

KESS04 is pressing right now, but still to be announced. It's by an artist I've followed since she released on one of my favourite industrial labels: Ant-Zen. It's quite quirky and personal like KESS02 was. Looking at an X-mas release for that.

Then I've got a few more releases lined up for 2017, both reissue and new material, but still working on agreements on those so can't say more. I'm also trying to make something myself, which is proving quite hard after working with a machine/computer based setup for over a decade. Need to find my own tongue and bring the live feel into the mix somehow, let's see how that plays out…

ST: As a DJ, what preferences and resources guide you when you’re digging for tracks, either to reissue or to include in a set? What tracks that have been moving you most lately?

R: Whatever touches or moves me goes into "the box.” I play all kinds of sets, ranging from completely abstract/ambient to noise/industrial/punk and of course my "regular" techno/house leaning club gigs. I'm quite liberal when it comes to blending genres in the same sets, so I never really feel like I have to follow any rational guidelines.

Lately I have a few really dark and rare old gems that really touch me, but as I plan to reissue them I don't want to give them away ha! Of course there's a million new records too, which is what I write about on my little blog http://www.rivetselects.com/

ST: What can you tell us about the mix you’ve put together here?

R: I got to know Chris [DJ CZ of Surface Tension] from a random Facebook thread and quickly realized we have extremely similar taste— something that has happened to me only a handful of times before. For a year or two now we've exchanged recommendations on a weekly basis, which has been a goldmine for me! So when he asked me about a mix I felt like if anyone would appreciate my effort it would be him, making the decision easy.

About the mix itself it's quite representative of my DJing at this very moment. I'm a "mixing DJ" in how I work with tracks as bricks rather than stringing tracks together. A style that has always been a natural way to play techno for me, but when it comes to more synth/punk leaning music (Kess Kill style) it's a different animal. So in the last year or so I've been experimenting, trying to reinvent my technique without losing grip of my core of rude spontaneity. I'm not 100% there yet, but I'm getting there. Track selection and EQ/gain has become much more important as sound varies extremely between say a 1981 tape release and a 2016 12". It's also not as resistant to battering as techno, so I'm toning down on the most brutal cuts and fades. Track selection is slightly more shoegazing than what I would do for a club gig or a "big name" podcast, simply because I wanted to make something that Chris would enjoy.

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(Kess Kill)