20 Questions
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In March, Fever Ray released their first new album in over five years, Radical Romantics. The project arrived as a welcome return for the artist, also known as Swedish singer Karin Dreijer (half of the sibling duo The Knife), as they explore the idea of love by questioning, deconstructing and rebuilding the concept in their own intriguing way.
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Filled with 10 metallic synth-pop tracks, which see-saw between atmospheric and industrial, Radical Romantics follows Fever Ray’s 2017 album, the acclaimed Plunge. In support of the new set’s release, Fever Ray will set out on the There’s No Place I’d Rather Be Tour, their first trek since 2018. The U.S. leg kicks off May 1 in Washington, D.C.
In the latest edition of Billboard’s 20 questions, Fever Ray discusses their most memorable recent show at “a wonderful punk venue,” how they celebrated the album’s release (and who they dressed up as… spoiler: it’s from one of their music videos) and much more.
1. What’s the first piece of music you bought for yourself, and what was the medium?
The first record I bought was a 7” with Cyndi Lauper’s “All Through the Night.” I thought it was the best thing I’ve ever heard. I still like it.
2. What was the first concert you saw?
I don’t remember — my dad took me to some, I guess. But I went to my first festival when I was 15, Hultsfredsfestivalen, in 1990. 22 Pistepirkko I remember [them playing]. That was a great show.
3. Who made you realize you could be an artist full-time?
I guess I realized it myself when I started to make money out of it. I’ve done it the past 20 years now. Before that I had other jobs as well.
4. What was your first job?
I was cleaning hotel rooms.
5. Whose career path continues to inspire you most?
I think I get inspired by people who are passionate about what they do, who keep on learning new things, who understand how to combine work with relationships, friends, family and manages to take care of themselves. It can be in any profession.
6. How did your hometown shape who you are?
I lived in the same place from 6 to 18 — it was sort of out in nowhere, outside Gothenburg. There were small streets with the same exact houses in straight rows. Only houses and a lot of forest around. There was a tennis hall, too, so everybody played tennis. Except our family, although my sister started to do that later. I guess music was a way to find a space where I could be me, a way to understand that there’s something else than this.
7. If you could see any artist in concert, dead or alive, who would it be?
I would have loved to see Eurythmics around the Savage album. And Cyndi Lauper when she released “Girls Just Want To Have Fun.”
8. What’s the best or favorite concert you have seen so far this year, why?
I haven’t seen so many unfortunately, cause I’ve been working too much with the tour. But I saw Sarah Parkman a few weeks ago in Gothenburg. She has an incredible voice, it was a great show.
9. What’s the last album you listened to in one sitting?
Bendik Giske’s Cracks, I love it.
10. What’s your favorite album of all time?
Around the World in a Day with Prince.
11. How did you celebrate the release of your third album, Radical Romantics?
We had a big party in Stockholm with many great DJs and performances — people said afterwards it was like a queer reunion after the pandemics. I was there as Demonalisa from the “Even It Out” video.
12. What song on the album was particularly challenging to write?
I think writing is always a mix of easy and light — some days everything is clear and some days everything’s a struggle. I work office hours, mostly. I think routines are the best way to get things done, even though routines also van be a struggle. Days when you don’t get ideas, you just practice — practice a new instrument, practice vocals, practice a new plug-in. You just have to stay in it.
13. You’ve long worked with your brother, and he’s a co-writer on several tracks here. What’s the key to working with family?
I have no idea. I’ve never thought of it like that. I don’t think of family as something blood-related either; family are the people you keep close. It’s six years between Olof and I, so we didn’t share much as kids. I had a strong urge quite early to break out from there, I moved out when I was 18. So it was later we started to do things together — he had started making music by the computer and we played around with it one summer. That’s how it started.
14. If you had to pick one lyric that you have thought about or revisited most since the album released, which one would it be and why?
I think they all mean a lot to me. It’s interesting to perform them live now — you have to learn to live with them. When you write them and record them, you just think about how to tell this specific story, once. But now, you have to make friends with them in another way.
15. What’s your karaoke go-to?
I am too shy to karaoke.
16. What show of yours stands out as being particularly moving or memorable?
My recent one was den Atelier in Luxemburg. We didn’t have any expectations — it’s a bit of a strange city, very clean and a lot of money. Then we played at a wonderful punk venue and the audience was just amazing, we had such a good time.
17. What’s your favorite book?
My oldest kid made me re-read Kathy Acker lately, who I love.
18. What’s your favorite film or TV show?
I love so many films. Those by John Waters are new favorites.
19.. What’s one piece of advice you would give to your younger self?
You have to make friends with yourself. Treat yourself like your own best friend.
20. What remains at the top of your professional bucket list?
I am very grateful of everything that’s happened already. When finishing an album I always think of the last album I’ve made like the very last I will make, that I might do something completely different next time. I don’t have a professional bucket list. I’d like to keep working and collaborate with fun people, there’s a lot of things that needs to be widened and explored.
Santa Fe Klan is constantly innovating. His free-flowing style has taken him to the next level, including arenas like on his upcoming 38-date U.S. tour, Todo y Nada (or All and Nothing), which kicks off June 10 in Salt Lake City, Utah.
Like his tour name suggests, the 22-year-old Mexican rapper lays it all on the table with a nothing-to-lose approach. “My people know everything about me. I have never hidden anything from them. I am that way,” he told Billboard Español. He’s an artist who candidly spits rhymes on his experiences in the hood, family life, romantic encounters and Mexican pride.
As a dynamic lyricist with a passionate flow, and with the ability to navigate a diversity of sounds — from mellow rap to dancehall-style toasting — it’s almost impossible to turn a deaf ear to his music. His fanbase continues to grow as he expands the outer limits of rap.
“The truth is that I always come up with crazy ideas and this time I wanted to do something that no one would see coming,” Ángel Quezada (real name) told Billboard last August. “I wanted to show that an artist can do whatever he wants regardless of genres, and I wanted to do acoustic ballads to connect even more with my fans.”
Emerging from the underground of Mexico’s booming rap scene, he began showcasing his candid wordplay when he was just 12 years old from the barrio of Santa Fe, the capital of Guanajuato in central Mexico, just north of Mexico City. From dropping viral tracks on YouTube and SoundCloud since 2016, the prolific rapper has built an ever-growing international following — his overall video view count currently clocks in at a staggering 3.9 billion streams.
In between, he has also released a cumbia sonidera-leaning album (Santa Cumbia), collaborated with the likes of Run the Jewels and M.I.S. (“Ooh La La” remix); and on his latest 2022 efforts, Mundo, Santa Fe Klan soothes his usual hard-hitting bars for a more melodic approach, where he dedicates songs to his mother and newborn son Luka. The album also features a collaboration with romantic pop group Reik.
“It was difficult to open up in this album because it reflects my day-to-day reality,” he previously said. “This specific album mirrors the experiences my community is going through; I wanted to project that so my people could identify with mine.”
Mundo debuted at No. 4 on Latin Pop Albums and No. 11 on Latin Rhythms Albums. The single “Mar y tierra” earned him his first entry on Billboard‘s Hot Latin Songs chart.
Santa Fe Klan talks tattoos, his artistic evolution navigating various genres — he’s pivoting to regional Mexican music on his next efforts — and bringing Snow The Product and Tornillo on tour with him.
1. Todo y Nada is your first 30-date arena tour in the United States. How do you feel?
It’s already 38 dates and I thank all my people in the United States for all the support! I’m bringing you a new show and we’re going to have a great time.
2. In each album you’ve released, you have constantly shown your artistic evolution. We’ve seen you emerge from the underground rap scene in Mexico, then do cumbia sonidera and more recently, regional. What can we expect from your next material?
(Laughs) Yeah, right? I like to experiment with genres and I also like those genres. They are the ones I have listened to since I was a little kid. And now we are coming with a regional Mexican album that includes several collaborations. Expect that soon.
3. Tell me about your latest single, “Mecha Corta.” How did this collaboration with Remmy Valenzuela come about?
That was badass. We met at the Akron Stadium [in Zapopan, Jalisco] when Grupo Firme was there [on September 24, 2022]. We were both invited to sing, and there we chatted and agreed to record. A few days later, he came to my studio in Guadalajara and we got together. I showed him the lyrics of the song and the whole thing went off (laughs).
4. What inspires you when you compose music?
Daily life, what happens in the hood. Many of my songs are stories that I’ve been told and others are things that I have gone through. For example, the song “Luka” [from the album Mundo of 2022] was written for my unborn son at the time.
5. Last year you made your debut on the Hot Latin Songs chart with “Mar y Tierra,” and your album Mundo also made it to several charts. What is your reaction seeing your music on the Billboard charts?
No well, it makes me very happy that everything is going good, that my people continues to support me, and that more and more of my music is being listened to. Thanks to Billboard for all the support. I will continue to represent the barrio.
6. You have been at the forefront of the new generation of rappers in Mexico, such as Gera MX, Aleman, Neto Peña, to name a few. How would you describe the rap scene in Mexico compared to other parts of Latin America?
Rap is a culture that my carnales (friends) and I in Mexico — and the world — represent in the same way. Much respect to all the clika (the community) for representing the genre. Each country expresses itself differently with its own style, but we are all the same.
7. You have some very cool tattoos, what is the newest one? Can you explain the meaning of some of your most special tattoos?
I just tattooed the word “Lealtad” (or Loyalty) on one hand because it is something very important in life. Without that, there is nothing. I have my parents tattooed, without them I wouldn’t be here. I also have my son Luka’s name on my fingers, and on my abdomen I have part of the streets of my barrio.
8. You will be touring with Snow Tha Product and Tornillo. What do you like most about the work of each of them?
Rifan machin my two carnals (my two friends have skills). For me it’s a pleasure to have both of them with me on the tour. We are going to have a great time with my people. Their work says it all. They have come a long way.
9. What is the origin of your stage name Santa Fe Klan?
That’s the name of my hood back in Guanajuato, the state capital.
10. How has Santa Fe shaped your personality?
In everything. The barrio saw me grow up and taught me loyalty and respect for people, and that we are all equal. ¡Arriba el barrio, arriba la Santa!
11. What do you consider your biggest achievement?
Professionally, that my music has reached so many people and that it has charted in the best lists. So far, I have filled the Monterrey arena and the Mexico City arena. Let’s see what’s in store for us in 2023. And personally, my greatest achievement is to have all my family well and the hood.
12. What is your favorite food?
My favorite food are tacos, aguachile, ceviche and carne asada with the compas (homies) pouring caguamas (drinking 40s).
13. Favorite sneaker brand?
I like the white [Nike] Air Force One. They never fail.
14. Besides your music, who or what have you been listening to lately?
I listen to the music of my carnales in [the collective] 473 Music, so you all can hear them. They turn up.
15. Who was your favorite artist when you were young?
Chalino Sánchez. Big time.
16. What’s your favorite movie?
I don’t have any. I like a lot, but more the horror or action ones.
17. What do you like most about being a rapper?
Recording, writing songs, and singing to the whole gang. It’s a good time.
18. For someone who has never been to Guanajuato, how would you describe it? What do you love about your hometown?
Downtown is really cool. To go eat a guacamaya or some chicharrones with cueritos (pig skin), rolling around with a joint. And [what I love is] my people, my neighborhood.
19. What is something your fans don’t know about you that you would like to share?
My people know everything about me. I have never hidden anything from them, I am that way. The only thing they don’t know is what’s coming on my next album that they’re going to love.
20. What can we expect from your U.S. tour?
Lots of partying! Lots of rap! Lots of cumbia… We’re going to get everyone lit. I want to see you all.
A shining example of how one song can launch a career, Dutch producer Mau P hit the stratosphere in 2022 with his “Drugs From Amsterdam,” an omnipresent global club hit since its August release.
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Based on a simple conceptual premise — “Off my face, don’t know where I am/ ‘Cause I got my drugs from Amsterdam” — the sexy tech-house heater helped cement the ubiquity of the genre this year, while also making the 26-year-old producer born Maurits Westveen part of the global conversation. It also garnered him both a flurry of bookings, along with congratulatory DMs from scene titans like David Guetta and Tiësto.
Out via Lee Foss’ Repopulate Mars label, the song hit No. 1 on the Beatport overall chart shortly after its release, currently has 5.6 million official on-demand U.S. streams according to Luminate and is in its 11th week on Hot Dance/Electronic Songs. It also gained additional momentum with a recently released edit from Dutch techno powerhouse Reinier Zonnefeld.
A producer since age 18, Westveen is gearing up to release his followup single in early 2023, and in the meantime will play some of his first U.S. shows over the holidays, with not one but two New Year’s Eve sets in Southern California (at Proper NYE in San Diego and Insomniac’s Countdown in San Bernardino), before a spring run of U.S. club shows — during which Mau P will surely demonstrate how music is the greatest controlled substance of all.
1. Where are you in the world right now, and what’s the setting like?
I’m in Amsterdam right now, working on lots of new music. The weather really sucks, but the vibes are still there.
2. What is the first album or piece of music you bought for yourself, and what was the medium?
I think it was either deadmau5‘s For Lack Of A Better Name or Stevie Wonder‘s Talking Book. Both albums were CDs, and I must have been 13 or 14 years old. I was just getting into dance music, but at the same time I was also super interested in the music that my parents listened to.
3. What did your parents do for a living when you were a kid, and what do or did they think of what you do for a living now?
Both of my parents are musicians actually. My dad was a saxophone player — he contributed to a lot of songs and played with many different live acts. Next to that he was a conductor and later on he mainly worked as an arranger. He met my mom at the conservatory where he taught music, at that time she actually was one of his students! She’s a wonderful singer and has been in a lot of different bands throughout her career.
Sadly, my dad passed away when I was 18, and he didn’t get to witness the things that I’ve achieved, but I still make all of my music in his recording studio. My mom thinks my dad would’ve been really proud. I know that she is.
4. What’s the first non-gear thing you bought for yourself when you started making money as an artist?
I believe I bought a really expensive backpack for when I would go on tour; I was convinced that I’d make it as an artist and would need that bag. Funny thing, last month I actually got a new backpack because I needed a new one, as this first one started to fall apart.
5. If you had to recommend one album for someone looking to get into dance music, what would you give them?
Wow, that’s tough. Just one? Daft Punk‘s Homework, Calvin Harris’s 18 Months, Disclosure‘s Settle and the deadmau5 album I mentioned earlier – the one that got me started. Oh and Skrillex’s Scary Monsters and Nice Sprites.
6. What’s the last song you listened to?
“SIZZLIN” by The Last Days Of Pompeii.
7. If you could go back in time to any era of dance music history, to when would you go and why?
2000s trance era for sure. I’d do anything to be in a crowd for a Tiësto set around that time.
8. “Drugs From Amsterdam” has been such a massive hit this year. What was the first moment that you knew you had a monster song on your hands?
Probably when I played it for the first time. I did a show at a club in London, and the crowd was really cool, so I decided to try it out. When I dropped it the whole place just turned upside down. After posting a video of that on my Instagram I started to get a lot of messages about it, and from there on the rollercoaster just never ended.
9. How has the song changed your life?
It opened up a lot of doors for me that I’ve been banging on for years. I’ve been making dance music since I was 18 — I’m 26 now — and I’ve always wondered how the big guys got to where they are. I was like, “Why is it not me?” or “What am I doing wrong?” I guess it’s all about finding your groove and your sound. I am now 100% inspired and comfortable in the music that I make and ready to give the world a lot more. It’s also so cool to see the big DJs and the whole dance music community support me. I feel like we’re all on a mission together to push the scene forward, and I’m super happy to be part of that.
10. What would the younger you think about what your life is like now?
He would be screaming and jumping around for sure.
11. What else do you love about Amsterdam, besides being able to get drugs there?
I love the people and of course all of my friends that live in the city. I love the energy and I specifically love the city at night.
12. In terms of controlled substances, which one is your favorite?
The ones from Amsterdam.
13. I know quite a few iconic DJs have hit you up looking to collaborate. Who’s your dream collaboration?
I’d love to work with Skrillex. I’ve been following him for so, so long, and trying to get a glimpse of his production techniques and the way he manipulates sounds. I’ve always felt like he’s been sent from another world to teach us how it’s really done.
14. What’s the best part about being a hugely popular DJ? The worst?
The best part is the feeling that DJing gives me. The feeling when I’m the one building the mood in a room through music. You’re the one taking everyone on a journey, and every time it’s a new challenge of how you’re going to do that.
The worst part probably is having to control your dopamine. You get so much attention from people mixed with adrenaline from actually being on stage. I’m happy that my first real hit song is happening after doing shows for a couple of years. You really need to be mentally strong and stable for this.
15. How do you plan to follow up “Drugs From Amsterdam”? Are you feeling any pressure, given that it’s such a huge track?
Sometimes I definitely feel the pressure, but I always come to the conclusion that the only way to move forward is to get into the studio and have fun. Stop thinking or worrying. Mess around and make new tunes. The follow up to “Drugs From Amsterdam,” “Gimme That Bounce’” was made in the exact same way. I wasn’t thinking about anything. I wasn’t trying to follow any rules. I was just in the moment creating something that I thought sounded really cool. I’ve been playing it in my sets for a while now and the response is insane, I can’t wait for it to be released early next year.
16. Have you gotten a chance to play much in the U.S. yet, and if so, how do U.S. audiences compare to European audiences?
Not really. Definitely not with this new sound that I’m doing right now, so I have yet to find out. I’m actually going to play Proper in San Diego during NYE. In February I’ll be back for my North America Tour, I’m really looking forward to that one. You can find me in New York, Chicago, Las Vegas, San Francisco, Los Angeles, Seattle and a lot of other cities!
17. How do you unwind after a big show?
You don’t. You keep on partying.
18. What’s the best business decision you’ve ever made?
Changed my name to Mau P.
19. Who’s been your greatest mentor, and what’s the best advice they gave you?
My dad. He taught me everything that I know about music until I was 18 years old. I don’t really have any best advice from him, but I made him a promise to one day get a gold record plaque for one of my songs so that I can hang it next to his.
20. One piece of advice you’d give to your younger self?
Stop overthinking and just do whatever you think is cool.
After years of playing catch up, Louis Tomlinson is finally two steps ahead of himself.
The former One Direction member’s solo career thus far has seen him adopting a trial-and-error approach to discovering the exact formula that would bring out the best of him as a leading musician. He tested the post-band waters early on with collaborations that adhered more to what he thought was expected of him, then packaged his understanding of grief, resilience, and romance into his self-reflective debut album Walls. He only got to perform two live shows after the record’s January 2020 release before the pandemic sent him packing, but those stops in Barcelona and Madrid were enough for him to realize that was the secret ingredient: the fans, the volume, the energy.
Tomlinson kept the prospect of presenting his follow-up, Faith in the Future, to an audience at the front of his mind while creating the album, but he also gave himself the grace to allow the record to come to him in creative waves, rather than racing to an impending finish line. He didn’t need to catch up to where he, or anyone else, thought he should be: It was more a matter of coming to an understanding of a clear, cohesive goal and mapping out a blueprint to achieve it.
What emerged from Tomlinson’s intuitive writing and recording process was a pop/rock-oriented collection of songs that the singer says refueled his confidence and added layers of depth to the musical presentation of his mind’s inner workings. With the sophomore solo set arriving today (Nov. 11), the singer-songwriter answered Billboard’s 20 questions about communicating his creative vision to new collaborators, maintaining an authentic connection with his fans, and leaving ego out of his songwriting and live shows.
1. You’re in the process of filming a documentary – do you have a favorite music documentary that you’ve seen?
They’ve done two or three, but there’s an amazing Red Hot Chili Peppers one on YouTube, forget what it’s called. They’re making one of the albums. As a music fan, [it’s] just really, really interesting to watch through the process — and especially, you know, a band that are very different to anything I’ve ever experienced. So really inspiring and interesting.
2. How does the process of capturing your life on film contextualize how you reflect on your growth and progress?
It’s funny, really, because any time I’ve been watching different edits of it, you look at it in quite a clinical manner. You’re very aware that it’s you and it’s your story. But I think at the moment, because it’s kind of not finished, you’re looking with different eyes. So I’m sure once it’s finished and I really take all those emotions in, that it will be interesting, definitely. But at the moment, yeah, I’m just a little bit more clinical trying to work out exactly how to mold it.
3. How has using emotion and honesty in your songwriting gotten you to the point of being able to write a song like “Chicago,” or to incorporate reflections on platonic relationships like on “That’s the Way Love Goes”?
That’s always been like me bread and butter, really – honesty within lyric. But I suppose I’ve used it in different ways over the years. I think for me, especially on this record, I didn’t want to make everything feel like a romantic love song. And there’s a way of talking about love without feeling so soppy and f–king romantic — like, look how we do on “That’s the Way Love Goes.” You’re talking to a friend who’s going through something about a relationship and still there’s an element of love in there, you know?
But I think it was just about me expressing myself and trying to think with a little bit more depth. I think it’s the easiest concept to come up with, probably – love songs. But I think I wanted to be broader on this record. I wanted to say more. I wanted to have more interesting concepts. But I do think honesty, it’s always kind of come naturally to me. What I did a little bit different on this record was I tried to write a little bit outside of myself and looking at other people and people’s situations, or imagining a different situation. So not writing completely from personal experience, trying to be broader with that.
4. What was the experience of creating Faith in the Future like in comparison to Walls?
I think that was a lot of me working out who I was coming out of the band. And it’s not to say I wasn’t true to myself in the band, but I was in that band and I was part of that band – it wasn’t just me. It took a second to me to work that development stage out, whereas I think I did have a clearer picture on this record. And writing the first album, I can’t remember the period of time that I wrote it, but it was a long period of time from when I wrote the first song, which I believe was “We Made It” to the last song, which was maybe “Only the Brave.” That was a long time in between that, and it meant that I didn’t really build up any momentum.
I’m immensely proud of those songs, but at times when I listen to the album, it kind of lacks that consistency and fluidity. And that’s because, you know, when I was writing the songs, it was over a big chunk of my life. Lots of stuff happening to me. So at times it was moving around conceptually. Whereas I think this record, every song is about something slightly different. But I think there is something, there’s the element of change that keeps coming back. There’s definitely a lot of nostalgia in there, because I’ve been thinking about getting older and all that kind of thing. So I think there is a kind of invisible concept that ties it all together, if you know what I mean.
5. Who are your dream collaborators?
I think it probably wouldn’t be a traditional collaboration. I mean, maybe like, a cool guitarist on the record or a co-producer who produced some of the albums that I love. I mean, Mike Crossey, he was kind of that guy – he produced “Bigger Than Me” and a few of the songs, you know, he’s worked with a lot of the bands that I grew up listening to. I’ve never really got me eye on collaborations, I think, ‘cause I did a bit at the start of me career. Now, it’s more about showing who I am. I’m sure I’ll come back around to that, but my brain’s not really on that wave at the moment.
6. Tell me about how you chose your collaborators for this record. What’s the most important aspect of an artist-producer relationship for you?
Well, first, I wanted to work with people who make the music that I really love listening to, and that hasn’t always been the case. I’ve also not been lucky enough to be in those rooms before this album, mainly. So the benefit of working with artists and producers that work within the space that A) I want to be in and B) that I listen to, obviously just everything just feels more natural. And also, even getting in the room with these people, it builds your confidence. You feel good about what you’re doing. And so in terms of the process, it wasn’t quite as regimented this time around.
When we wrote “She Is Beauty We Are World Class, “Saturdays,” “Silver Tongues” — it was over like three or four days. There was no rushing around for anything. Just when we wanted to write, we wrote. Because it’s difficult sometimes when you sit down in a session and you’re working from 9:00 til 5:00 and you think, “I need a song by the end of the day.” It kind of stains the air creatively. So it was nice with this album having the flexibility of taking the time with each song and not forcing and just letting it come naturally.
7. Because you had that space to experiment, were there trial and error moments where you tried something out that you thought maybe might work but didn’t as well as you thought it would?
For me, it was more in reverse. It was more about taking a risk musically, listening back to it and thinking, “Well, at the time that felt like a risk, but actually listening back, I think I can go further and further and further and further.” And that’s kind of the way that I worked with this record. There wasn’t necessarily anything that we tried that didn’t work out. I haven’t really thought about it, but I suppose I’m pretty lucky.
I think it’s because there was an element of trial and error — but it was much more trial and error on the first record. Whereas this, I had a clear idea of what I wanted, and because I had the live show fresh in my mind, I’m trying to create these interesting live moments. So I just had a much clearer picture in my head.
8. How do you go about communicating that idea of the live show to the people that you’re in the studio with in order to bring that to life?
It’s another massive benefit of working with artists. They know what it feels like to be on stage. They know about that connection, they know how important it is — they understand a setlist, they understand different moments in the show, etc., etc.. It’s a really natural thing. And also, you know, even not as artists, we’ve all as music fans had great experiences going to watch live music. So it’s just drawing on all those memories, really, and trying to capitalize on the unbelievable atmosphere of every show. The crowd. I’m so f—ing lucky to have such a great crowd at every show, so I wanted to make a record to match that.
9. Does that more live-oriented, industrial, Brit-rock sound communicate something through the music that a more structured kind of pop couldn’t?
For me, it goes back to what I kind of grew up listening to and still listen to today. I think on my first records, I was slightly closed-minded in terms of the sounds that I used. And I think it was important for me on this record to be more interesting sonically. And also, you know again, that serves the live show, that’s going to give more depth to the live show. So it was definitely a conscious decision while still trying to maintain an identity that kind of runs throughout the record.
10. What was the last song you listened to?
Let me have a look, I think you’ve got a history these days, don’t you? On your Apple Music? This better be f–king good now. Oh, “Notion,” Kings of Leon.
11. What’s your favorite album to listen to from top to bottom?
AM [by] Arctic Monkeys has got to be up there. Probably [their] Favourite Worst Nightmare, as well. Those two albums were absolutely massive for me growing up, so yeah, let’s go with them. Trying to think of a more recent one. The Snuts’ debut album, I absolutely loved. I loved their follow up as well.
12. You’ve gotten some pushback a couple of times from bands and artists in the more “alternative” or “indie” space for championing that music and trying to make space for those artists where you can while coming from a pop background. How do you think about the role that ego plays in an industry like this?
Maybe that’s just the nature of the beast. You know, I could sit here and say, “I wish it wasn’t there,” but I think it’s maybe always going to be there, to a degree. And there’s times where it frustrates me, but there’s also definitely times where it really f–king motivates me, you know — definitely gives me something to work towards in breaking down these perceptions and preconceived ideas that people have. Just because I was in a band then doesn’t mean that that’s me now. And you know, [there are] definitely times where it does my head in, but at the same time I like the challenge.
13. What does authenticity mean to you, and what do you think it means to your audience?
I think musically it would be hard to put it down to one thing. I think where it’s easier to kind of see is when there isn’t authenticity. Sometimes you can’t put your finger on exactly what that is. You know, it’s kind of a collective intention. It’s within the lyrics, it’s within your concepts, it’s within the way you dress. And that kind of builds up this image. I would even say that the authenticity stretches as far as my relationship with the fans – it’s incredibly authentic and incredibly rewarding, I think, for both of us.
I think it’d be hard to really just explain it in one thing, but I don’t really know any other ways. It’s kind of like, if you’re brave enough, it’s the easiest way to operate. I mean, don’t get me wrong, it’s sometimes a challenge. There’s definitely days where you get kind of tested. But you just kind of got to stay strong-willed and stay authentic. I think that’s the most important thing as a musician.
14. What’s at the top of your professional bucket list?
Probably [playing] festivals. I have a lot of great memories there as a music fan. Love spending time there.
15. Faith in the Future feels very conversational at times, while also maintaining a sense of introspection. How do you carve out a space for yourself while also leaving room for your fans to find themselves in the music, too?
That was important for me. I mean, conversational lyric – honest and conversational – is what comes naturally to me, lyrically. I wanted to write a little bit more metaphorically at times, like there’s definitely lyrics within “Silver tongues” that I think sound kind of random, but they meant something to us at the time. The first record, I explained what everything was about – but I also made it specifically only about me and my experiences. And exactly what you just said, I wanted to open up and give the fans room within these concepts that of course I can relate to, but so they can as well and it doesn’t just become completely autobiographical. Because, to be honest, that’s a little bit ego-driven, innit?
16. How are you approaching blending the worlds of Walls and Faith in the Future for the live shows next year?
Speculatively thinking about what this set might look like, I imagine it’ll be about 70% new songs, 30% Walls. It might even be more new songs than that and less of Walls. I like to do a long set anyway, but I’ll probably still do a One Direction tune — I enjoy doing them. We did a different version of “Night Changes” recently. It’s fun to reshape those songs and make them kind of fit in line with where I’m at musically.
In terms of the show, for me, the crowd do all the heavy lifting and I’ve just got to do a bit of singing and just enjoy it as much as I do. It’s my favorite thing to do. But honestly, the show is going to feel like a level-up this next tour. Musically, it’s going to be better. But honestly, the show lives with me and the fans and that connection. I imagine if I was, you know, a friend or a parent who came to one of the shows, that’s what they would come away from it thinking, and that definitely makes me really proud.
17. Which artists, dead or alive, would you love to see live?
Well, I mean, it’s really generic and obvious to me to say, but I was never lucky enough to see Oasis together. And I would have absolutely loved that.
18. When you’re looking backwards, there’s grief, and regret, and memories. But when you’re looking forwards, there’s a lot of uncertainty, but also optimism, hopefully. What keeps you grounded from spending too much time looking in any one direction?
I’d say I am an optimistic person, so my optimism probably helps with that. Because I think, you know, even when we get emotional on this record, I think there’ll be something within the sound of the production, there’ll be a lyric, there’ll be a melody that just kind of is there to inspire hope. So even when it gets a little bit darker emotionally, there is that hope at the end of it. And that was important for me across this record, really. In terms of staying grounded, I’ve just got a good group of people around me. I’m lucky for that. It makes everything a little bit more bearable.
19. When you think about legacy and impact – when you look back on your career years and years down the line – what do you want to be the most defining element of all that you’ve done?
I think actually, as much as this album is about the fans and about those live moments — when I listen back to this album, even today, what makes me proud is this is the record I want to make and I always wanted to make. So if I still have that feeling in two years, which I imagine I will, that’s how I want to remember it individually. That will definitely give me confidence for the rest of my career. And it already has. I really feel comfortable in what I’m doing and again, it all comes back to the fanbase. They’re the people who allow me to do what I want to do.
20. You have a 31st birthday coming up soon. What have your thirties taught you about yourself so far?
F–king hell, I’ve only been thirty for some months. What’s it taught me about meself? Maybe that I need to grow up a little bit.
While KiNK may not yet be a massive name in the States, the Bulgarian producer is revered by those in the know. Both Diplo and Claude VonStroke have called him one of their personal favorites, while many in the scene cite him one of the best live acts in techno at large.
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Born Strahil Velchev, the producer is based in his native Sofia, Bulgaria, where he grew up behind the Iron Curtain, the only music he had access to being that which was government-approved. That era is a long way from Velchev’s current reality, which involves traveling freely across international boundaries to play music that likely wouldn’t have been approved behind the Iron Curtain.
Having released music under Ovum, KMS and his own Sofia label, KiNK’s latest release is a swirling, brightly ravey edit of the 1999 Midfield General track “Coatnoise,” with Midfield General’s Damian Harris himself requesting that Velchev take on the song. Out today (October 28) via Harris’ Skint records, the release comes ahead of KiNK’s upcoming whirlwind run of U.S. shows, which includes a November 10 date at Elsewhere in New York, a November 11 show at Public Works in San Francisco and a November 12 set at San Diego’s Love Machine festival, the lineup for which also includes Dixon, Denis Sulta and Pan-Pot.
Here, Velchev reflects on the “two extremes” of U.S. fans, his love of Silk Sonic and the best advice his grandmother ever gave him.
1. Where are you in the world right now, and what’s the setting like?
I’m just back in my apartment in Sofia, Bulgaria after an exhausting weekend, which started on Friday and finished yesterday. My two-year-old daughter is getting her afternoon sleep; I’m in the living room, enjoying the silence after a few days of loud sound blasting in my ears. It’s a bit of chaotic here, my daughter’s toys — blocks of Lego, cars, some animal figures. And other toys we share together — two little synthesizers and some cables. You have to watch your step!
2. What is the first album or piece of music you bought for yourself, and what was the medium?
It was vinyl, probably around 1986, an album by the German Euro Disco band called Modern Talking. It’s one of the very few projects I’m a little bit embarrassed to admit that I liked, but back in the day in Communist Bulgaria this was some of the most exciting dance music the government would approve to appear in the record stores — alongside another act produced in Germany and I really loved back then, Boney M.
Back in the ’80s, all the music on the Bulgarian market was manufactured by Balkanton — the only record label, also owned by the state. The vinyl was cheap, probably costing the equivalent of one Euro or a dollar in the modern terms. But there was not that much of a choice, you wouldn’t see Chicago House or Detroit techno on the shelves in the store.
3. What did your parents do for a living when you were a kid, and what do or did they think of what you do for a living now?
Both of my parents studied law and worked for the state, which meant not getting a big paycheck, but having some sort of stability. They never understood my passion and didn’t support it, but also they didn’t try to stop me. They hated their jobs. They were happy I was spending my time in a creative way. My mom would often say, “I don’t mind what you do, but the sooner you realize it’s not going to work, the better for you.”
Luckily they were wrong, so far. After about 10 years completely committing myself to producing and DJing, around 2009 I was able to support myself financially and my parents started helping me with some office work related to my trips; they still do it til today. They still don’t like the music, but they are happy for me.
4. What’s the first non-gear thing you bought for yourself when you started making money as an artist?
To be honest, nothing significant for myself. The most notable treat was a second hand Opel Astra, I think it was model 2008, for my girlfriend, now wife. It was for her, because I still don’t know how to drive. Still, beside some of my extravagant purchases of music gear, we don’t spend that much money on material things. We like to travel and to try good food. I guess this will change as our child is growing.
5. If you had to recommend one album for someone looking to get into dance music, what would you give them?
LFO’s Advance is a very important album for me, and I used to recommend it to friends who were getting into electronic music, because I believe it’s easy to digest, but also its very musically rich and intelligent. There are tracks with different energy levels, fast and slow. Dreamy melodies and punishing kick drums. A bit of everything, but it all sits together extremely well on this album. It still grows on me after 24 years of existence. I’m sure these days there are better records to introduce somebody new to electronic music, but I guess you are most impressed with music when you are a teenager or in your 20s. I was a teenager in the ’90s, and I’m very connected to that era.
6. What’s the last song you listened to?
We were in the car with my wife earlier today and our good friend Krista, a Bulgarian singer, was presenting her new album on the radio station we usually listen on the road — Jazz FM. So we listened to Krista’s U Doma. The song she describes as Bulgarian Folklore singing tradition meets gospel. The lyrics are about home. Today I can relate to that, after such an extreme weekend spent at hotels and airports.
7. You’re the favorite producer of many producers. What are you doing that no one else is doing that’s elevated you to this status?
I don’t think my approach in the studio is unique, I’m just very dedicated, because I really love the process of making sound and music. I’m trying to do what I would like to hear from other artists. I love simplicity in any kind of art form. I’m looking for a strong element in my tracks — it could be a drum pattern, a catchy melody or a really unusual sound. If I feel like the demo is boring and I have to improve it with studio tricks in the arrangement, I would rather delete the sketch and start again.
I also like the music to be a bit irritating. When I got into Techno in the early ’90s, I loved it, because it was like nothing I’d heard before, and it was that irritating, atonal element of this music, which fascinated me the most. I try to keep that in my music too. And last but not least — I love to have a certain character in my sound. Regardless if I record my track through a pair of guitar pedals or I use software plugins to achieve a non-existing sound color, that last touch is important to me. And it can take a lot of time, sometimes longer than arranging the track.
8. You’ve also got a sort of enigmatic mystique. Do you consider yourself mysterious? What’s a normal day like for you?
I believe I’m the opposite of mysterious, but indeed I don’t share much about my private life on the internet, because I haven’t got that much of a private life for a long time. I was learning how to become an international artist for a decade, and now I’m an international artist for over another decade with crazy touring and recording schedule, and that sums up the past 20 years of my existence as an artist.
Luckily for me, my wife Rachel Row is a singer/songwriter and she has been very patient with me over the years, because she has the same passion for music. Normally our day would be doing office work in the morning, going together for lunch — and the rest of the day it would be studio, together or separately. We love to jump in the car spontaneously and escape from Sofia for a few days every now and then. Since we are parents, everything is more compressed — no private time, less studio — but also a lot of fun right now. We are even more offline beside announcing work, because we want to give our daughter the privilege to be anonymous, until she can decide for herself.
9. Tell us a bit about the dance scene in your native Bulgaria. What are the parties like? What do audiences respond to?
The scene over here is similar to the rest of the world. There is a massive commercial EDM scene, which gets the biggest crowds, but I can’t say much about it, because I don’t follow it. From the promoters I follow, on the bigger scale, my friends Metropolis stand out. They have been active since the mid-’90s and still deliver high-quality techno and house events with up to 10,000 visitors — giving the crowd what they want, but also educating with fresh international talent.
Faza (Фаза) is another party organization, which is doing very well, specializing in a more cutting-edge, niche sound of techno, and I really appreciate their work for the scene in the past few years. There are also a lot of warehouses and underground clubs around the city, which I am excited to discover. I can say I am missing out a lot being on the road every weekend.
10. You don’t play in the States all that often. Why? Where do you spend most of your time?
I generally don’t play as much as the DJs do. I mostly play live sets, which means harder traveling, getting very little sleep — because I need to soundcheck before the venue opens. Also flying out from Sofia often means more connecting flights. I play mostly in Europe. Then I go to North America and some parts of Asia twice a year, and once a year touring Australia and New Zealand. I completely ignored big parts of Asia and Latin America, but I’m excited to discover new territories when my setup becomes simple enough.
My trips to the U.S. are short, in and out in the more recent years, but it’s always a pleasure. My favorite music comes from the States. The crowd that comes to my shows is very educated, and every visit is quite inspirational. Saying that, I’m just in a process of renewing my U.S. work visa in order to come to play in November — really looking forward to it!
11. What do you make of American audiences and the U.S. scene in general?
The American audience is great. I see two extremes: people who have tremendous knowledge about this music, which is born in the U.S., and other people who have no idea and just want to have a good time. I love both. I can’t decide what’s a bigger compliment. If someone with great knowledge tells me I played great, or a new clubber to tell me he or she heard of me for the first time and it was amazing.
12. What cities are the most exciting for you to play in, currently?
After the pandemic I’m excited to reconnect with a lot of the usual suspects like London, Berlin, Paris, Amsterdam, New York, Chicago, Tokyo. I’ve been to all these places since we are back to normal, but I can’t get enough!
13. Midfield General’s “Coatnoise” was released in 1999. How did you come to remix a song that’s 23 years old?
I have massive respect for Skint records, for the amazing music they released through the years. Some of it was made by the founder of the label, Midfield General. When the General himself asked for a remix, I had to do it! It was a pleasure. I am quite happy with the result and flattered to rework a solid classic!
14. Do you have any guilty pleasure music? Would we ever catch KiNK listening to pop? Country? Is it all techno all the time?
I don’t feel embarrassed by any of the music I listen to right now. I was not into bands or pop music through most of my life, but since we started to travel often with my wife in our car around Bulgaria in the past few years, I started enjoying the music Rachel is listening to. I started liking Beyoncé, also Solange, I’ve been a big fan of Sabrina Claudio for few years now. I love Anderson .Paak also, and his project with Bruno Mars, Silk Sonic. We are enjoying Kendrick Lamar, Childish Gambino. I love everything Pharrell Williams is involved with.
15. What artists are you most excited about right now?
From the dance music scene right now, I can’t get enough of Fadi Mohem and Stef Mendesidis — both amazing DJs, producers and live acts. I’ve seen Fadi once and I couldn’t stop dancing. Cant wait to experience Stef, I think he is coming to Sofia soon. Outside the techno circle I am very exited about Kamaal Williams — absolutely amazing keyboardist, mixing jazz music with new influences. I had a chance to see him live and he delivers! Also Kaelin Ellis, a multi instrumentalist and studio wizard, doing modern instrumental music, based on funk.
16. The most annoying thing currently happening in electronic music is _____ ?
Seeking perfection.
17. If you could go back to any era of dance music history, when would you go and why?
I would go back to experience the early to mid ’90s. This is my favorite period, because thats when I discovered this music and I was most passionate about it as a music fan. I would like to experience it again, but not as a kid listening to the records at home. I would love to experience the actual raves happening back then, which I missed.
18. What’s the best business decision you’ve ever made?
Having my focus on my art and skills instead of the business side of my work. All artistic decisions I took had fantastic effect on my business. Of course, that wouldn’t be possible if I hadn’t gotten a strong team who believed in me and helped me with decisions, which are out of my competence. Starting with my first agent Kai Fischer, who helped me to kickstart my career, my current agent Alma Ernst, who helped me to grow as an artist in the past nine years, and Ryan Smith, working with him for North America from day one.
19. Who was your greatest mentor, and what was the best advice they gave you?
My grandmother was my greatest mentor, unfortunately she passed many years ago. She couldn’t see me touring the world, but I still remember her strength and her words. She was constantly pushing me to dedicate myself to arts and to be a citizen of the world and that everything is possible. All this sounded like an hallucination back then in bankrupt, post-communist Bulgaria, but somehow she saw the future for me. Sometimes when I feel weak I think of her, one of the strongest people I’ve ever met.
20. One piece of advice you’d give to your younger self?
To be much braver in everything: music, business and personal life.