Kasket ‘Where Is Alice?’ interview


I caught up with Kasket about the Where Is Alice ep on Apollo.

DB: I love the atmosphere on these tunes plus they are not specifically ‘of’ any era, they are really unique.

K: I take pride in not sounding like anyone else, but have had to fight against agents who steer you elsewhere, towards a world where radio and clubs excel at sounding the same. People sometimes like to put music into a box in order to help them understand it, but I don’t believe this is healthy. Music is art, and art comes in many forms. As someone once said to me: ‘There’s two types of music: music you understand and music you don’t’.

DB: What music influences you?

K: My list is very ongoing, here’s just a few names.
Radiohead, Frank Zappa, Sleepy Time Gorilla Museum, Miles Davis, Herbie Hancock, Squarepusher, Bjork, Us3, The Herbaliser Band, Primus.


DB: When do you produce, what time of day? Does it affect you?

K: I mostly make music early in the morning around sunrise, not because I’m trying to be deep or anything: I’m a light sleeper! Sometimes I work across the whole night. It feels like you’re the only one awake, which really helps me get into it.

I find I make the best music when I’m overtired: you’re not over thinking and you’re really making what you feel is right for your mood at the time.

DB: Lastly what is a tune from this ep you would nominate and talk us through?

K: I’ll talk about the track ‘The Forgiven’. I made this track on one of my late night binges, drinking tea like it was water and chain smoking cigarettes like biscuits. Not a good look. I came back from UK after Christmas and got home to Berlin, tired. The last thing I wanted to do was to work on music, so I thought I’d check my emails. It just went from there…

I started with the drums. They started off very simple, and being a drummer, and I wanted to see how ‘live’ I could get them. Lifeless drums make me angr: they’re the enemy of electronic music! Then made a bass sound with a nice flowing progression, and started playing around with other sounds.

When I work with most tracks, I make a standard outline of where the track should go, then I just layer and layer. I hit record and play, so it feels live to me. I clean it up at the end to make it all nice. This track was written in a whole night, from 10pm til 8am the next morning. I then of course mixed and edited it over a few days. I didn’t think much of at first (as most artists know, you tend not to like your own work), but the response from my recent show in Belgium convinced me otherwise.

Kasket packshot (reverse)

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