Voightman

Dan Prince·
Features

There is no such way to define what Claus produces when behind the decks, only that its intelligence and musical ability is always prominent. Coming from a punk band background, he rocks his sets with that certain punk attitude and never ceases to move the floor. Groove and funk is ever present. DMCWORLD checks in with him as the new album drops..

Hi, and thank you for chatting to us, first up, tell us a little about your new album Sublunary.  Is this correct, please check the spelling! , and talk us through your studio set up such as the key components you used? 
 
I have been working on the album for the past year. It was an interesting journey to say the least, with a very particular outcome. The album is pretty much shaped by these main players in my set-up:

Oberheim OB6 

A beast of a synthesiser that I recently bought. It totally changed my sound on the album. From chords and melodic bits to bass-lines, the OB can do it all.

Analog Rhythm

My drum machine of choice for the album – and a very powerful machine it is too.

Moog Voyager

The monster bass-line machine – sometimes it’s hard to tame this synth and the bass-lines are just too heavy, but it worked well.

Roland 606

I use the 606 mainly for its hats and claps.

Roland SH101

It gives you Bass-line after bass-line and squelchy noises too – I love it!

You mention that you felt comfortable with your studio, why was that?

After a very long time in building my setup a friend joined my studio, and brought in and shared  pretty much all the equipment that was missing from my original design. After doing some remixes and EP tracks in there, I realised the full potential of this setup and I thought it’s now or never. Also, I felt more and more sure about my style and the music I want to put forward. I found a way to make it all sound my own.

You also mention you let go of the worries of people liking it, what was the defining moment that created those thoughts?

In underground music you are either on the cool side or on the uncool side; with the result that a lot of the music made tends to sound the same. People copy successful producers to join the cool side too. I realised this, after discarding a couple of tracks which sounded exactly like some of my peers, and I was like: ‘This is boring; I am not putting all this effort into my music to sound exactly the same as everyone else!. ’I figured that the album needed to be a pure representation of myself and that’s the moment I decided to no longer care what’s cool and what’s not. 

Talk us through the process and how you laid out the track order?
I produced all these tracks and filtered them down to a select 10. I didn’t want to start with the big club track on the  A-side (as so many do), I wanted the album to be structured like a song, essentially. There’s the Introduction (A-side), then a buildup and climax with increased intensity (B and C-side), and finally a slowdown/outro (D-side).
Did you leave any tracks on the cutting room floor that maybe could used again?
I have lots and lots of sketches and ideas, I think more in elements, and within these there is certainly bits to be picked up again later and placed in a new environment. 
 
You have said you were a minimal artist before the album, where would you say you are now in the genre front?
My taste has widened with the years and you certainly grow up musically. Also, on an album you want to show what you can do.

Would you say you feel totally balanced and in sync now it’s finished?

I am content with the outcome. It’s a great snapshot in time and a milestone for me as an artist.

Which is your favourite track would you say? and why?

There are 10 favourites – that’s why they made it onto the album.

Moving onto the gigs, you’ve been in the US? how was that and how did the gigs differ greatly to the ones here in Europe and Sonar recently?

The US is fun; I go there and visit mainly the same places I always go to, see all my friends, as you do on any of these trips. Musically speaking I find gigs in Europe have a more educated crowd and you can play more challenging stuff, but they’re all good!.

You’ll be back in Leeds at your favourite West Yorkshire haunt, Distrikt, what is it that pulls you to playing there?

I love taps aff.

What would you say to people that haven’t yet experienced a Distrikt courtyard party?

If you are into good programming and energetic fast dance music under blue/grey sky you have to check it out. 

Finally, where else can we see you over the remainder of the season?
I am pretty much fully booked over the summer months and will be hopping all over Europe. Highlights will include Houghton, 10 years of Slowdance in Moscow and a tour to South America in September visiting Peru, Paraguay Brazil and Chile. I am very pleased with this year so far and am excited for what’s to come.
 
Catch Voightmann at Distrikt August 4th – https://www.facebook.com/distriktbarleeds/