Hypercolour’s Jamie Russell on Kris Wadsworth
“He’s been one of the core artists for us over the years. That first Morris/Audio EP was special. He was finding his feet, honing his sound. The musicality was always there, and part of the romance of why we loved his stuff in the first place was that it was raw, and the levels were all over the shop. It reminded me of the Chicago stuff I was buying, the Cajmere and DJ Sneak stuff. It had that feel to it. We remain good, true friends who share the same vision. He always believed in us, and we always believed in him. We’re already going backwards and forwards on material for the album, and I think he’ll use it as an opportunity to surprise a few people. We’re all about that. He’s been sending us electro, jungle, and drawing on a lot of influences. He’s having fun, and that’s something we massively encourage. If it’s not fun, why are you fucking doing it?”
and you can hear that fingerprint and that thread. It was insane. Even with the FUSE stuff, you can hear exactly who it is.” Even when Hawtin became wilfully minimal, Wadsworth was still on board. “Minimalism? When I first got into that as a kind of aesthetic, that was when I was like, ‘Woah’... People either get that shit, or they hate it, because it’s so repetitive. That’s the shit I love the most. Some of the records I have, there’s no way I could drop those in sets at most of the clubs I play. But minimalism as the proper aesthetic, not the perverted, marketing form — real minimalism, that is the shit.” That said, he’s no real interest in genre. Quite the opposite, in fact. “It’s strange to me,” he says. “I can’t wrap my brain around the idea of jumping out of bed and saying, ‘I’m going to make this genre of music’. When I think about music, and hopefully when other people do, they’re not that limited. I’ll try and hit a kind of creative burst and see what comes out. I like to hit the four-four stuff a
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lot, but the material I’ve submitted for this next album is totally all over the place.”
What’s good about Wadsworth is that he talks sense, and he’s not in the least bit interested in what’s hot and what’s not, or whether he should be producing more music, less music, DJing more, DJing less, whether or not the scene is diluted or over-saturated. “Some of my heroes, indisputably, have huge discographies. Carl Craig. He’s made a fucking ton of music. Is every single track a hit? Absolutely not. But the guy is genius.
Mark Broom, I did a record with him, and I’ve loved his music forever. He’s got a massive discography. Or Mr G, again, tons of shit out, Robert Hood’s got tons of shit out. People right now are more focused on making hits. They should just go and make some fucking tracks.” And with that, he’s off to make some more fucking tracks.
•‘Life and Death’ is out now on Get Physical.
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