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Panthera Krause

"I’m inspired by a lot of different people, mostly by people who doing their thing with all passion and humility thats possible and never stopped smiling about all the things that went wrong and about themselves"
© Sandra Ludewig
© Sandra Ludewig

Whether with original or remix-material Panthera Krause been in the spotlight these past few years, always inventing and reinventing himself musically but keeping a steady (production) flow that's offered him the opportunity to not only become a national and international renowned artist but also to focus on what he's passionate about: music and music only. With a truly impressive string of creative proposals, that doesn't seem to ever let up, we thought it would be great to speak with Panthera Krause to find out what motivates him.

Do you remember when music was first introduced to you as a child? Was it through playing an instrument, listening to the radio or through your family?

My first experience with electronic music I can remember is to listen to a record from my father when I was a child. It was "Elektronik Impressionen“ by Klaus Schulze. Klaus Schulze is known for ambient and synth songs and for me it was like listening to a strange fairytale, because I thought this music was made by machines themselves. When I was a child, I’ve learned playing the flute and later as a teenager I had lessons in playing the Saxophon. Nevertheless when you are 16 years old, you are not so much into learning an instrument. Therefore I was happy in a certain kind a way, when I broke my arm while skating, which led to a stop of the lessons. About 10 years later I rediscovered the Saxophon for playing it in my band Marbert Rocel.

What are your musical backgrounds? Were your parents avid collectors and listeners?

It would be exaggerated to call my parents collectors, but they possessed some records, including some GDR Rock and Jazz LPs like Manfred Krug, Renft and Jazzaspekte, which I still listen to. This music is an important background for the music I’m producing nowadays. Later, together with some friends, we did a weekly radio broadcast for a local radio station. I was in charge of the musical editorial and once a week I had the possibility to record all the music I was in favour to at a little record store in my home town. During these days I’ve listend to sooooo many records from Autechre to ZZ Top.

How did you first start experimenting with electronic music?

When I moved over to another city for my studies, a friend gave me Fruity Loops. I spent days on exploring music production instead of doing stuff for university.

© Sandra Ludewig
© Sandra Ludewig

Do you recall the first acid record you heard that made you think, “that’s it, that’s the kind of sound I want to do/play”?

In my twenties I was used to travel to Berlin to buy records. One day I was standing in a little record store and listen to some people who were talking about the new album of Matthew Herbert. I haven’t known his music before and for me it was mind blowing when I first listend to Bodily Functions. I was so excited, skipped through the tracks and thought: "Yes, thats exactly how music should be.“

How do you usually build up your tracks? Are you more into instinctive jamming or do you structure things more tightly?

Most times I start by jamming but sometimes although with kind a straight idea on my mind. Over the years, I experienced that a lot of magic happens accidentally. Like in live there are so many things you don’t have control of - thats why I started to wait in the Studio until a good idea comes by and then I grab it. :)

In and out of the electronic music circle, who’s an inspiration to you?

There’s no particular person. I’m inspired by a lot of different people, mostly by people who doing their thing with all passion and humility thats possible and never stopped smiling about all the things that went wrong and about themselves.

What was the last record store you visited and what did you bag there?

At my last trip to Berlin I stopped at a little record store (forgot the name of it). There I bought "Esotica Erotica Psicotica“ from Club Paradiso. I haven’t known this guy before but the owner of the shop showed it to me and I was like: "Yes, I love the positive vibes. I take it!“

Would you like to share a set? Can you tell us more about it? When and how was it recorded?

This is a short mix I did for Gilles Petersons Worldwide Radio five years ago. I recorded it at home and it took me three days to finish it. I haven’t listend to it for a long time but I like the open minded selection. I’ve choosed this mix to remind myself to bring some more eclectic tunes into may next mix.

How would you define your sound?

It’s positiv, mostly an uplifting ride between disco and house. Soulful and always with a fresh breeze of dirt in it.

What’s your studio currently comprised of? Any piece of equipment you’d never get rid of?

At the moment I work a lot with my old Micro Korg, a Roland Jx-03 and some effects but my MPC 1000 is the most important thing. It’s the instrument that gives me the best and for me the most intuitive control about making music. It’s just a sampler but it surprised me so often. I love, love, love it!

Looking back at the past, did you ever envisage that you’d become this big name in the electronic music community?

I’ve worked very hard on this since I started having a band with a friend in the garage of his parents. We had a keyboard, bongos and a cassette recorder with a microphone, no ideas but a lot of energy - so yes! =)

What are your favourite spots to hang out in town?

I don’t care if I have my friends around me!

© Sandra Ludewig
© Sandra Ludewig

How are you coping with confinement for C19 with your work?

All gigs are cancelled and I don’t have any income. For the moment I’m going on with my stuff like finishing remixes, working on new music and we’re still releasing on our label Riotvan. Like most of the people in this grave situation I drive by sight, trying to keep my head up high.

Has this situation influenced your creative perspective? What social and musical implications do you think this situation can lead to?

At the moment it’s hard to drawn a certain picture of the upcoming. The struggle is real and for sure it will affect the scene big time. But still, I hope there can be changes in a good way too. As an artists and owners of small labels, we are living from hand to mouth – like most people, who are active in the creative scene. And by shutting down all the clubs and canceling festivals, it brings up the necessity of thinking about new strategies to handle that new situation and what will than appear afterwards. When the clubs some day will re-open again, they will have to compensate the loss they’ve made and so they might book more local artists, reduce fees for the gigs and with it all artists want to make up for the gigs that they’ve lost. During the shutdown, we might sell fewer records as many of our customers are DJs. Their income is drying up. Right now they seem to not even need new records. However, we will keep on and think about ways to get the label through this horrible time for our branche. We try to be positive and hopefully we’ll find a solution that will work for all of us. Together we will get through this, stronger and more united.

What pisses you off?

That the forward button of my MPC is broken since two days.

What makes you happy?

Til (a friend) can fix it.

Can you tell us something about your current or future projects? Where can we continue to see and listen to Panthera Krause?

I did some remixes for Kasper Bjorke, Johannes Albert, Martin Kohlstedt and some more, which will be released over the next weeks. Perhaps I’m working on some new stuff and also I wanna record my liveset. Unfortunately all the shows are cancelled and no one is sure about the procedere of the festival situation. But I’ll make the best out of this situation by trying to provide some positiv, optimistic music for sure.


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