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Killawatt, the UK based producer who’s well-know for releasing dark breaks and industrial dubstep on Osiris Music, the label of Simon Shreeve aka Mønic.
Now widening his approach, Killawatt delves into more techno oriented rhythms still keeping true to his UK roots. This will be his second EP for Tommy Four Seven’s 47 imprint, delivering four killer experimental dance floor tracks on Sep 21th.
TF: You haven’t given much interviews and you remain quite discreet despite of the recognition your productions and dj sets. Do you think that an excessive media exposure tends to cause harm to music?
KW: I'm naturally quite a discreet and private person so I don't tend to do a lot of shouting all over the internet... endless selfies and pretentious shots aren't my sort of thing either. I think excessive media exposure of the wrong type can cause harm for sure. Readers/listeners want to hear you talk about something interesting and new that they were previously unaware of so giving countless interviews saying the same thing doesn't do anyone any good. I think it's best to just let the music talk, Aphex Twin is the prime example of this. As with everything in life, it's all about finding that balance.
TF: You live in Portsmouth. How does this place influence you as an artist?
KW: This is a difficult question. I couldn't really tell whether Portsmouth itself directly affects my sound but I am of the strong opinion that living away from the main hubs (London/Berlin) keeps me from being drawn into producing certain sounds and aesthetics associated with those place. It allows me to do my own thing without being influenced too greatly by the people around me as there's practically no underground music scene here. It's something of the quiet life by the sea which suits me down to the ground.
TF: Does Killawatt has some rituals before start producing? Please share some notes about your creative process.
KW: A studio session just involves jamming and looking for new sample sources until I come up with a decent concept or sketch. I'll often have an idea of the sort of thing I want to sit down and make but most of the time it ends up and something completely different. My day job is composite engineering and I work from home so i'm often writing music and engineering various structures at the same time which I would have thought is a fairly unique creative process.
TF: What do you think is the role of new technology in composing music? Do you rely more on digital or analog sound?
KW: New technology is incredibly important. I'm a lover of all technology and actively embrace it. 75% of my studio is digital, the other 25% comprises a few eurorack modules, ms-20 mini, noise box and an analog heat but I work mostly in-the-box. I'm very interested in the use of scientific / engineering data sources in the production of sound and visual media. There is so much data from physical and organic sources out there that can be used and converted using software to create some mind-blowing stuff that you could never recreate on analog hardware. I hope to start using this technique more very soon.
TF: Your EP in 47 Records was one of our favourites in June. We feel a darker and broken version of Killawatt. Tell us about the sound and the process of this EP
KW: The sound of this EP stemmed from the kick drum on 'Meiotic Drive'. I made that track in about an hour one night just messing around and to my surprise Tommy loved it (the kick especially), so I just took that kick and made all the other tracks from there. I think my music has always been fairly dark to be honest and this record was no different.
TF: Where would you like to see yourself in the next few years? What are you biggest aspirations for you?
KW: My biggest aspiration is just to be able to do this full-time. It's a pretty simple thing but bloody difficult to do comfortably.
TF: Can you tell us more about your next release? Do you have in mind other projects?
KW: I'm currently working on more music for 47 and Osiris, and I am hoping to engage in a couple of other experimental projects in the near future when I have some time.