AS ONE INTERVIEW

What was the fate of your label, A.R.T. (Applied Rhythmic Technology)? What was the last release?

ART became Op-art in 1997 - Op-art stopped because I became too busy with my recording, remixing and DJ schedule. The last release was by Sensurreal (Gerd).

How did you first get into producing music? Describe those first dabblings.

After seeing the equipment that Derrick May and Juan Atkins were producing stuff with, I sold my record collection and bought a sampler, keyboard and fx units. The early results were released on my first 12" released on B12 records in 1992. Very derivative of Chicago House and Detroit Techno.

You're known for working under many different pseudonyms, but I'm not aware of any collaborations. Have you worked in collaboration with anyone before?

I've collaborated with Dan Keeling for the Critical Phase eps, Jamie 'Jimpster' Odell for the Super-a-loof ep on Exceptional and Ian O'Brien for the track 'The
Password Is courage' for the last Soul of Science compilation. I did some collaborating with Photek and also Stacey Pullen but never got the time to finish these tracks.

Describe first hearing one of your tracks out in a club.

I remember how the bass was too loud when B12 played 'Dance Intellect' at the Fuse Club in Brussels.

... a passing car.

Real pride and surprise when Colin Faver played 'Dance Intellect' on Kiss FM from a DAT demo I sent him.

... a record shop.

whenever i hear my records out somewhere it just sounds vaguely familiar at first then I realise its my own track.

You seem to have produced in as many different styles as you've worked with labels. How is creative freedom important in each relationship with your labels?

extremely important. I don't like people to ever 'predict' what kind of album I'll release or to be pigeon-holed into any specific category.

Do labels usually approach you expecting a certain style/sound?

Yes.

You're known to be aligned quite closely with the Detroit techno community. Given the barrier across the Atlantic, how did you first connect with your peers in the U.S.?

It was on a record buying trip for the used record store I worked in. I was buying old soul/jazz/ house/techno, etc.

More recently, you've also been aligned with the broken beat community in London. Describe that connection.

Well, I'm a huge fan of the works of 4 Hero, IG, Domu, Seiji, Alex Attias, Bugz, etc. I guess its inevitable that like-minded musicans/producers will cross paths socially as well as professionally.

What's next?

The new Ubiquity LP for next year - its working title was 'On Into Darkness' cos that seemed the way humanity was headed since 9/11, but I've since become a father and this has brought a huge personal optimism into my life so the angle may change. A more techno/e;ectronic based project for Versatile Records in France, more techno eps for EMI's 'New Religion' sub-division and also more collaborations! I'm also working on material with Simon Jinadu who did the vocals on Problems and I'll Be Loving You on the first Ubiquity LP. Its nothing like anything I or anybody has done before...

Has any of your work been used in advertising/film/television?

Yep - Adidas, Nike, Microsoft, Fanta and more... have all used my music on ads.

From your view point, what's the current state of dance music? How do you see your role in the overall community?

The dance music scene is as full of bad music and over-sized egos as its always been. The margins is the best place to be and I see my role as a force for constant change and experimentation ...

Your music seems to be both retrospective and futuristic. Can you explain the creative process when you go into the studio?

I agree. I think its because I'm a huge fan of a musical era that is long gone, but I am not stupid or lazy enough to simply try and emulate the records of that
era - that is pointless. So I apply the factors that I like so much in those records - usually in the recording techniques ie. by using vintage mic=pres/eqs/compressors. I also aim for that 'warm' sound so lacking since the early 80's. But the compositions and programming are always futuristic
simply cos I never try and repeat myself or think anything about 'commercial potential', or whether it will workin a club, etc.

How do you reflect on the early music you've made that's included on "So far..." ?

I rarely go back to early material - once I finish something, its done and on with the next project. On compiling the master I did of course listen to all my material and I have to say I'm pleased that it hasn't dated as badly as most music of this style has. I guess that's wh there's still a healthy interest in and demand for my old material.

How would you expect people to react to these early tunes in the present day? In your opinion, what's different about that reaction compared to hearing the tracks in context a decade ago?

I honestly couldn't tell you how people might react!

How would you describe the progression and artistic growth of your peers from the early A.R.T. days (Black Dog, Carl Craig, Aphex Twin, Steve Pickton, B12)?

Well Carl is the only one who has really gone on to try different avenues with his music. Likewise you never know what to expect with a Carl Craig release...

And on a personal aside.... what ever happened to B12? I'm curious to know!

Mike & Steve were really just huge devotees of that Detroit sound. As the records out of Detroit got fewer and fewer and the quality dipped with each release they started losing interest. They went on to pursue careers in banking and computing. They are 2 of the funniest and nicest people you could ever
meet.

Kirk


To buy or to listen to sound samples of As One "So Far...(So Good)" click here.

For more info on Kirk Degiorgio (As One) click here.