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Klute - DJ Set - NZ - Nov 2001
Submitted By: 
DnBJunky
DnBJunkyGenre: Jungle / Drum and Bass
Date of Set: Nov 18th, 2001
Filesize: 111.33 MB
Total Downloads: 3
Biography of Klute
Tom Withers, aka Klute, has been a fixture on the Drum and Bass scene for over ten years, lending his creativity to the likes of Hospital Records, 31 Records, Metalheadz and his early stable Certificate 18, responsible for releasing his first two albums, 'Casual Bodies' and 'Fear of People'. In 2001 his own Commercial Suicide imprint was borne out of a necessity on Klute's part to control his own releases as well as provide a support network for the ever increasing new generation of like minded producers. So far the label has seen releases by Klute himself, Calibre, Total Science, Digital, Amit, Break and Silent Witness. Previous to this much lauded and rebellious electronic career, Klute fronted legendary Skate-Punk outfit 'The Stupids', an apt schooling for a producer with this unique level of eclecticism.
No One's Listening Anymore Interview with Martin Clark - London 2004
If you gaze into the heart of drum & bass and then look slightly to the left, you’ll find a slightly scruffy man, staring lovingly back towards the centre. That man is undoubtedly Tom Withers, best known as drum & bass artist Klute.
How he got there is a long and winding tale. Unlike most junglists, it starts with a 1980s hardcore/punk band called The Stupids out of which a long and passionate love affair with rave, Detroit techno and then jungle evolved. Yet ten years and four albums since he released his very first drum & bass single, Klute is still staring lovingly back into the heart of drum & bass. He’s stood there drenched in his own melodies, engulfed by his own soaring strings, keeping the Klute flame burning.
After a decade of making glorious, soaring drum & bass/jungle, you’d perhaps expect Klute to have the process pretty much pinned down. But on the eve of the release of his fourth album “No One’s Listening Anymore he’s still exploring, still finding, still searching. And that’s part of the fun.
“What keeps my attention on making music is that it’s one giant mystery to me. It’s still unknown and that’s how I approach it every time I make a track. The giant unknown - there’s lots of chance involved with it. I appreciate the mystery of it, the unknown and that’s what excites me, he admits. I’m hoping that one day I’ll grow up and be able to look back and interpret exactly what it is I’m doing'.
The new album No One’s Listening Anymore comes in three parts. Firstly there’s the drum & bass tracks on vinyl, released through his own Commercial Suicide label. Then there’s a double CD in conjunction with Breakbeat Science in America, which includes the vinyl tracks plus some more D&B on one CD, and a second CD that ignores jungle’s rhythmic template, yet employing its textures at a whole spectrum of speeds and moods. It features a collection of new vocalists from around the globe Klute’s assembled: Moocha, Miss Suont and Kiyomi. The music develops gently from beneath the surface instead of clumsily revealing it’s intent from the first beat. As a whole it varies in palate from the dark (on the modern classical flavoured Hidden Hand) to the warm and epic (as with the collaboration with Marcus Intalex on Make A Stand).
Through all the tracks there is one common thread however: a deep vein of aching techno-soul. “I’m a massive techno freak. It’s in my blood. I was raised around classical music: my sister played it. So I love to create melodies - my favourite musical emotion is melancholy. I don’t find it sad though, I find it strangely uplifting and that’s why I always go for it. To me melancholia is empowering, it’s romantic and quite hopeful'.
Techno – it sounds pretentious – but it’s a feeling, it’s a soul or a religion. We all know literally what ‘techno’ is, but to me it runs a bit deeper. The second CD takes the techno themes but removes them from the 130bpm constrains'.
What sets Klute-the-artist apart from more conventional drum & bass producers, is the narratives and thoughts that accompany any release. Sometimes he simply writes this is fucking brilliant on the usually dry, lengthy and bluntly informative contact sheet that accompany most 12 releases. But it’s also the detail he adds to the background of his music. Take his new album’s title for example. No One’s Listening Anymore. What’s in a name? It’s a depressing sounding name but it’s supposed to be more empowering. It’s more of a statement: we’re not listening to you.
It came to me in a car in Slovenia. Or was it Slovakia? One of the two. I was just sitting there thinking about news bulletins. I’ve got an aversion to media really because I think most of the time it’s there to manipulate people. Music papers have turned something to aide shifting products. Rock magazines are like adverts. But there was a Bush or Blair news bulletin and I thought wouldn’t it be great if no one was listening anymore?
The title also lends itself to the music. We’re in this information overload era, no one’s got time to digest the music like we seem to use to.
Also take Simon Cowell on Pop Idol. Maybe it’s wishful thinking but people are stopping listening to this, people are starting to go ‘no. I’m not having that, no more Pop Idol. Fuck off Simon Cowell. We want something real.’
So you could take the title three different ways. But the whole point of my art is that I really like it to be ambiguous. I’m not dictating anything by calling it ‘No One’s Listening Anymore.’ I want you to get it wrong because I can’t stand the obviousness of things.
Much of Klute’s early drum & bass career was centred around Ipswich’s Certificate 18 records. The East Anglian town in the mid-90s was a focal point for jungle, with local artists like Photek, Digital and Spirit also having a huge impact on the national scene. Klute’s first jungle 12 came out in 1994 through the Red Eye record shop’s Deep Red label. They pressed up just 700 copies. After that he released many singles and two albums Casual Bodies and “Fear Of People” on Certificate 18. He also had releases on benchmark dancefloor labels like Metalheadz, 31 Records and Hospital.
His third album Lie, Cheat and Steal, released on his own Commercial Suicide label, is a benchmark of accessible yet underground drum & bass. It even attracted attention from outside D&B’s notoriously insular community, from such lauded DJs as Francois Kevorkian, Andy Weatherall and Laurent Garnier. But flattering as it is, acceptance from other scenes is never something Klute has aspired to.
I do singles for the DJ circuit but I do albums so that other people can get into them. I’ve met so many people who’ve given it to their parents. People tell me: ‘my dad really likes Fear Of People. I love it when that happens because it means I’ve succeeded: it’s meant for everyone. In fact I get more of a tingle out of that than knowing some big DJ on the scene is into it.
Everyone has to figure out why they make music. Some people make it to make money: fine just get on with it then. I make music because I want to fulfil myself when I’m making it. I want to make something that I really like and gets me going.
http://www.soulr.co.uk/
No One's Listening Anymore Interview with Martin Clark - London 2004
If you gaze into the heart of drum & bass and then look slightly to the left, you’ll find a slightly scruffy man, staring lovingly back towards the centre. That man is undoubtedly Tom Withers, best known as drum & bass artist Klute.
How he got there is a long and winding tale. Unlike most junglists, it starts with a 1980s hardcore/punk band called The Stupids out of which a long and passionate love affair with rave, Detroit techno and then jungle evolved. Yet ten years and four albums since he released his very first drum & bass single, Klute is still staring lovingly back into the heart of drum & bass. He’s stood there drenched in his own melodies, engulfed by his own soaring strings, keeping the Klute flame burning.
After a decade of making glorious, soaring drum & bass/jungle, you’d perhaps expect Klute to have the process pretty much pinned down. But on the eve of the release of his fourth album “No One’s Listening Anymore he’s still exploring, still finding, still searching. And that’s part of the fun.
“What keeps my attention on making music is that it’s one giant mystery to me. It’s still unknown and that’s how I approach it every time I make a track. The giant unknown - there’s lots of chance involved with it. I appreciate the mystery of it, the unknown and that’s what excites me, he admits. I’m hoping that one day I’ll grow up and be able to look back and interpret exactly what it is I’m doing'.
The new album No One’s Listening Anymore comes in three parts. Firstly there’s the drum & bass tracks on vinyl, released through his own Commercial Suicide label. Then there’s a double CD in conjunction with Breakbeat Science in America, which includes the vinyl tracks plus some more D&B on one CD, and a second CD that ignores jungle’s rhythmic template, yet employing its textures at a whole spectrum of speeds and moods. It features a collection of new vocalists from around the globe Klute’s assembled: Moocha, Miss Suont and Kiyomi. The music develops gently from beneath the surface instead of clumsily revealing it’s intent from the first beat. As a whole it varies in palate from the dark (on the modern classical flavoured Hidden Hand) to the warm and epic (as with the collaboration with Marcus Intalex on Make A Stand).
Through all the tracks there is one common thread however: a deep vein of aching techno-soul. “I’m a massive techno freak. It’s in my blood. I was raised around classical music: my sister played it. So I love to create melodies - my favourite musical emotion is melancholy. I don’t find it sad though, I find it strangely uplifting and that’s why I always go for it. To me melancholia is empowering, it’s romantic and quite hopeful'.
Techno – it sounds pretentious – but it’s a feeling, it’s a soul or a religion. We all know literally what ‘techno’ is, but to me it runs a bit deeper. The second CD takes the techno themes but removes them from the 130bpm constrains'.
What sets Klute-the-artist apart from more conventional drum & bass producers, is the narratives and thoughts that accompany any release. Sometimes he simply writes this is fucking brilliant on the usually dry, lengthy and bluntly informative contact sheet that accompany most 12 releases. But it’s also the detail he adds to the background of his music. Take his new album’s title for example. No One’s Listening Anymore. What’s in a name? It’s a depressing sounding name but it’s supposed to be more empowering. It’s more of a statement: we’re not listening to you.
It came to me in a car in Slovenia. Or was it Slovakia? One of the two. I was just sitting there thinking about news bulletins. I’ve got an aversion to media really because I think most of the time it’s there to manipulate people. Music papers have turned something to aide shifting products. Rock magazines are like adverts. But there was a Bush or Blair news bulletin and I thought wouldn’t it be great if no one was listening anymore?
The title also lends itself to the music. We’re in this information overload era, no one’s got time to digest the music like we seem to use to.
Also take Simon Cowell on Pop Idol. Maybe it’s wishful thinking but people are stopping listening to this, people are starting to go ‘no. I’m not having that, no more Pop Idol. Fuck off Simon Cowell. We want something real.’
So you could take the title three different ways. But the whole point of my art is that I really like it to be ambiguous. I’m not dictating anything by calling it ‘No One’s Listening Anymore.’ I want you to get it wrong because I can’t stand the obviousness of things.
Much of Klute’s early drum & bass career was centred around Ipswich’s Certificate 18 records. The East Anglian town in the mid-90s was a focal point for jungle, with local artists like Photek, Digital and Spirit also having a huge impact on the national scene. Klute’s first jungle 12 came out in 1994 through the Red Eye record shop’s Deep Red label. They pressed up just 700 copies. After that he released many singles and two albums Casual Bodies and “Fear Of People” on Certificate 18. He also had releases on benchmark dancefloor labels like Metalheadz, 31 Records and Hospital.
His third album Lie, Cheat and Steal, released on his own Commercial Suicide label, is a benchmark of accessible yet underground drum & bass. It even attracted attention from outside D&B’s notoriously insular community, from such lauded DJs as Francois Kevorkian, Andy Weatherall and Laurent Garnier. But flattering as it is, acceptance from other scenes is never something Klute has aspired to.
I do singles for the DJ circuit but I do albums so that other people can get into them. I’ve met so many people who’ve given it to their parents. People tell me: ‘my dad really likes Fear Of People. I love it when that happens because it means I’ve succeeded: it’s meant for everyone. In fact I get more of a tingle out of that than knowing some big DJ on the scene is into it.
Everyone has to figure out why they make music. Some people make it to make money: fine just get on with it then. I make music because I want to fulfil myself when I’m making it. I want to make something that I really like and gets me going.
http://www.soulr.co.uk/
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