Jul 192018

Mikey Antonio – AlterRed

UK industrial/rock act AlterRed returns with the hard-hitting Trauma; Trauma Reinforcement available now on WTII Records. Definitely reflective of today’s hostile world, Trauma; Trauma Reinforcement takes the listener down a dark path filled with rage, instability, resistance and angst. This more aggressive AlterRed combines dirty guitars and heavy beats over thick layers of synths and noise. Their innovative sound was first introduced with the release of “Breaking News” and continues to morph on tracks like “Speed Test,” “Wait for the Recoil” and “You Get Nothing.” Topping off this release is a cover of the Duran Duran classic, “Wild Boys.

Lead vocalist Mikey Antonio was kind enough to take some time out to answer a few of our questions.  We very much appreciate his time.


Chain D.L.K.: The new album, “Trauma; Trauma Reinforcement” was just released on WTII Records and is the first release since 2015.  Talk a little bit please about the evolution of these songs since then.

AR: Hey! Thanks for speaking with us! Well, after the first three albums, which were a bit spooky-electro-cabaret, and very much fantastical and riddled with metaphors for mental health issues, we wanted to go back our electro-rock roots, which we did on our last album, “In the Land of the Blind.” Then, when I began writing Trauma, there just seemed to be so much social discord, misogyny and general intolerance in the air. In global politics, in Hollywood, in TV and Music in general – years of social inequality, injustice and abuse had come to a tipping point, and while I’ve always had strong political views, I’ve usually kept them out of the music. It seems with Trauma I just couldn’t contain it!


Chain D.L.K.: The cover art for “Trauma…” is pretty provocative with the people with the bags over their heads.  What was the inspiration behind that?

AR: Vix Vain has always been the creative mind behind our imagery, and between the two of us, we have designed all of the concepts and stage theatrics. For Trauma, though, Vix had a very specific idea of what she wanted to do based on the title. She wanted to base the cover on the experience of the surrealist artist Rene Magritte. It is said that Rene Magritte’s mother committed suicide, and when she was pulled from the river her dress was covering her face, which young Rene saw. This is thought to be the source of several of Magritte’s paintings where cloth covers the face, such as his painting “The Lovers.”


Chain D.L.K.: You have a really interesting hybrid of sounds. Can you talk about the collective influences from the different band members?

AR: Jack Hell has been our bassist from the start. We initially didn’t want a guitarist but instead chose a distorted bass guitar with throbbing electronic basslines beneath them. Then, when we wrote the “In the Land of the Blind” album, we added the electro-rock element and acquired a full-time guitarist. Trauma is the first album for which I have worked with a producer, Sheldon Trinder. Sheldon’s band I Will Leave No Memoirs has a particularly disturbing darkness to it, so I thought it would be interesting to see what his take on my songs would be. I initially sent him one track that was simply a basic piano piece with a throbbing bassline behind it – what he sent back absolutely blew my mind. I wrote lyrics for it and that became “The Only Way is Down.” We’d been looking for a project to work on together for a few years (some of which were so insane, I really hope we do them one day!) so we began working collaboratively on the album. Sheldon’s work on the album really does deserve a lot of credit! It would have been a very different album without him.


Chain D.L.K.: Why the decision to cover “Wild Boys” by Duran Duran?

AR: Hahahaha, OK, yeah that probably does seem like an odd choice. In a nutshell, I’d been toying with the idea for so long (I had tried it with four different bands!) so it was a case of just getting it down with the right line-up and producer. The crowds love it live, too!!


Chain D.L.K.: How would you describe AlterRed to someone who has never heard your music before?

AR: Electro-Rock-Industrial. Music to lose your mind to!


Chain D.L.K.: Tell us about some of the emotional dynamics behind some of the tracks on the new album…i.e. joyful, therapeutic, sad, etc.

AR: There is a bit of a range, from some very personal stuff (like Down and Bohemian Class) to the more punk and anarchic songs like PS Fuck You, Mad Dogs and You Get Nothing. There’s also my take on rolling news media (Breaking News) and how disposable and meaningless it is making something as essential as informative, objective and challenging journalism. The lyrics are a simple set of news clichés!


Chain D.L.K.: The first single and video from the album is “Speed Test.” What can you tell us about this song, the idea behind it and the upcoming video?

AR: Well, the video is in the hands of Duncan Catteral, who has worked with us on all of our videos. We usually sit down and hammer out a concept, but Duncan had a very specific idea for this based on some movie imagery we both love. It’s still in post production, so I’ve not seen it yet. I can’t wait to see the finished results, though.

The song itself is a tribute to Lemmy Kilmister of Motorhead, who died in 2015. It was the first song I wrote for this album, and I wanted the lyrics to be fitting of his lifestyle and the style of the song to be an industrial take on Motorhead’s punk-metal sound (which I am a HUGE fan of).


Chain D.L.K.: What equipment and software went into the writing of “Trauma; Trauma Reinforcement” and how was it different than the previous albums?

AR: I write pretty much everything on my trusty Korg Triton, then we re-orchestrated at the mixing and production stage.


Chain D.L.K.: What other plans have you for 2018 and possibly into 2019?

AR: So, 2018 will see us play a few showcase shows around the UK. We kicked off with the album launch in Dalston, London, on Friday the 13th July, which was a really great night. We’re putting a few more shows on, including at the very awesome Club Antichrist in London. We’ll play in Glasgow, Cardiff and Winchester, too. Then, of course, there’s the video to come!

2019, we currently have plans for two tours with two different bands, one in the spring and then again in the autumn. We also have a few festivals penciled in, so watch this space.


Chain D.L.K.: Many, many years from now, a very distant relative finds their way to the attic of an old home. In the attic they locate a box labeled “AlterRed” and inside find some of your recordings. What would you like this person to know of your legacy simply based upon listening to your music?

AR: Wow, what a question! I feel this box should come with an explanation and apology!

I’d like the music to be perceived as punchy, energetic and catchy, with a point to make, but for some of the more personal and complex songs, I hope the person would be able to connect the dots with many of the stories, images and metaphors.


visit AlterRed on the web at:

To Buy Trauma: Trauma Reinforcement:


Jul 172018
First an update on those of you having pre-ordered the following titles:
ARCANA “Dark Age Of Reason” LP (122nd Cycle)
ARCANA “Cantar De Procella” LP (123rd Cycle)
VORTEX “As Gods Fall” 2CD (126th Cycle)
Due to delays at pressing, we are now scheduled to receive these by the end of July, we will then proceed to ship all pre-orders,
thank you for your patience with this.
We also have 2 upcoming titles, set for release on August 6 2018 and are now taking pre-orders for these:
AJNA “Lucid Intrusion” CD (116th Cycle)
BONINI BULGA “Sealed” CD (117th Cycle)
Thanks again for your interest and support,
“Lucid Intrusion” CD
(116th Cycle)
We gladly welcome US based AJNA to the fold. A lucid dream turned nightmare as vast amounts of images haunt the subconscious. Is this all an act of subconscious? Can this be all lodged into the psyche? Or perhaps it’s a sign of mental illness. Or are spirits a true phenomena? This kind of experience is entirely surreal and subjective, however, one may never know if spirits truly exist. Deep, slow drifting isolationist soundscapes. The album as a whole explores the questionable existence of spirits.
Edition of 300 copies in 4 panel Digisleeve. 9 Tracks. Running Time 58:46
“Sealed” CD
(117th Cycle)
Sweden’s enigmatic and highly productive Pär Boström of KAMMARHEIT, CITIES LAST BROADCAST and ALTARMANG presents yet another singular project under the name BONINI BULGA. His debut “Sealed” was originally recorded and released in 2017 as a limited edition cassette on Boström’s own label Hypnagoga Press. We gladly present a remastered and extended version of this release. In recent years Boström has been exploring new sonic territories through his various projects, and with BONINI BULGA he’s chosen a more lo-fi loop based approach to his musical creations, bleak and minimalistic, we journey through a careful blend of processed analog synth layers and poignant revolving passages. This expanded edition includes three new tracks, which further exposes Boström’s unique vision and creative pact with the unknown, giving listeners the complete scope of his contemplative sonic magick.
Edition of 500 copies in a special 10 panel, cross fold out Digipak. 8 Tracks. Running Time 49:02
Latest Titles:
“As Gods Fall” 2CD
(126th Cycle)
“As Gods Fall” celebrates the 10th year of existence for the German ritual cinematic ambient project by Marcus Stiglegger. It is the final part of the mythical trilogy that began with “Kali Yuga” (2013) and “Moloch” (2015). Inspired by the Nordic mythology of the Edda, this album revives the realm of the Old Gods in their final conflict. As before this musical reflection on mythology is used as a metaphor for a portrait of the present world out of balance. The tracks were composed after a intense journey to the ancient viking relics of Scandinavia in 2015: “Breathing the air of history I felt ultimately connected to the past and heritage of the old Germanic tribes and their mythology, also understanding what this all means for what happens in the world today. “As Gods Fall” is a cycle of music invoking forgotten energies and lost wisdom…” For this album Marcus S. joined forces with many guest (including Michael De Victor of While Angels Watch), providing unique instrumental and vocal contributions. From pounding martial rhythms and hypnotic ritual chants via brooding drones to stunning and fragile melodic elements this album captures the essence of what Vortex stands for: ritual music. The album was recorded from the summer of 2015 to the winter of 2017 and finally mastered by Frederic Arbour in 2018. Stunning artwork was created by Nihil.
This release also contains a bonus-disc “Helstrom” featuring 2 unreleased Vortex tracks as well as remixes by Apoptose, Empusae, Phelios, Visions, Operation Cleansweep and more…
Edition of 500 copies in 6 panel Digisleeve, matt lamination with 8 pages booklet.
CD1: 9 tracks, running time 46:09
CD2: 10 tracks, running time 53:49
“Dark Age Of Reason” CD/LP
(122nd Cycle)
Now 22 years since it’s original release, we present ARCANA’s first album in it’s original length, remastered and with new artwork on both CD and Vinyl. Very few bands evoke such awe and inspiration than this Swedish act driven by the now legendary talent of Peter Bjärgö. ARCANA have been pillars and always at the forefront of the so called Neo Classical / Heavenly Voices movement with their poignant, ethereal and medieval inspired music. Sorrowful strings, doomsday horns and trumpets, massive percussion and snares, bells, dulcimer all interlaced with exquisite Male and Female voices create a quite singular atmosphere of grandeur and of melancholy for times long gone… Rejoice once again, or for the first time, in this timeless recording.
CD Edition of 500 copies in 4 panels Digisleeve. 10 tracks. 36:43
LP Edition of 300 Copies in standard LP sleeve with printed inner sleeve. 10 tracks. 36:43
“Cantar De Procella” CD/LP
(123rd Cycle)
Now 21 years since it’s original release, we present ARCANA’s second album in it’s original length, remastered and with new artwork on both CD and Vinyl. Very few bands evoke such awe and inspiration than this Swedish act driven by the now legendary talent of Peter Bjärgö. ARCANA have been pillars and always at the forefront of the so called Neo Classical / Heavenly Voices movement with their poignant, ethereal and medieval inspired music. Sorrowful strings, doomsday horns and trumpets, massive percussion and snares, bells, dulcimer all interlaced with exquisite Male and Female voices create a quite singular atmosphere of grandeur and of melancholy for times long gone… Rejoice once again, or for the first time, in this timeless recording.
CD Edition of 500 copies in 4 panels Digisleeve. 12 tracks. 47:56
LP Edition of 300 Copies in standard LP sleeve with printed inner sleeve. 12 tracks. 47:56
Jul 172018

Jormungand, Italian band coming from Torino and active since early 1990’s, have just released a new album titled “Into The Void”.
It has echoes of 1980’s electro industrial and various synth distortions.
It’s recommended if you are into Klinik, Die Form, Vivenza.
“Into The Void” is available at the band’s Bandcamp page for only 3.50€

Jul 102018


“Every day they order Alix to wake up, and he wakes up. They order him to eat, and he eats. They order him to get up, and he gets up. They order him to enter the white room, and he enters. They order him to lie down, and he lies down. And then, as they tie his hands and feet with some of the many ironworks, ribbons and straps that are in the room, Alix, who is not aware that he was released, falls asleep. It is the moment in which his brain registers each and every one of the words that were said to him, and he does it so avidly, unconsciously, but avidly. However, the darkness rapidly falls, stifling any hint of brain activity in a few seconds. Again the impenetrable blackness, again the night.          Wake up.”

With the collaboration of the renowned techno producer Oscar Mulero and some habitual collaborators of the project – David Sergeant (guitar), Greg Gobel (clarinet) and David Herrington (tuba) – Alix is the new album (released by HUMO in April 2018) by Territoire, the brainchild of the French producer and composer Olivier Arson, focusing on a sort of plot, starring the same-named slave from his birth as a submissive being until the meeting of the ones who sold him… Is Alix a fictitious character, or something closer to an ordinary being of our times? Let’s try to answer  this question with its author…


Territoire - courtesy of Tasio

Chain D.L.K.: Hi, Olivier! How are you?

Olivier Arson: I’m fine, thank you! Just got back from a rehearsal with the band. Thanks for the interest in our music.


Chain D.L.K.: Before focusing on the last output as Territoire, some introductory questions to let our readers shake your hand… I saw you worked on some soundtracks and you also gained a nomination for one of them (“Que Dios nos perdone”)! How did you start winking at the seventh art?

Olivier Arson: I had tracks from previous projects picked for soundtracks, but composing original music for films actually came after the first record of TERRITOIRE, Mandorle. I received the offer to score May God Save Us [title in english], and since then I have not stopped and really developed a great passion for it.


Chain D.L.K.: How important for you is the mutual understanding and communication with other members working on a movie (the director, in particular)?

Olivier Arson: Understanding with the director is absolutely key, and sometimes I even consider it to be somehow the co-author of the score. I also like to work closely with the editor; I try to give them demos before they start editing so pictures and music can go hand in hand right from the beginning. And, obviously, I try to talk as much a possible with the sound designer as my music relies very much on sound.


Chain D.L.K.: You were born in Paris, but you currently live in Madrid, don’t you? What’s the reason behind this choice?

Olivier Arson: I always had a complicated relationship with Paris and left a very long time ago. I have found in Madrid a more laid-back attitude. I feel people are more open and, generally, there is just more joy here. It’s also smaller, and at first, it almost felt like a village. Paris is more modern, but it was always  violent and aggressive to me.


Chain D.L.K.: Many soundtrack composers sometimes dreams of rescoring the OST of some famous game or movie… If you had similar reverie, which movie/game/theater piece would you like to re-sound?

Olivier Arson: I have never thought about this, I have to say! I dream more about the next movie, really.


Territoire - courtesy of Tasio

Chain D.L.K.: Let’s focus on your project Territoire… Why did you call it so?

Olivier Arson: I really like the concept of territory. It’s a moving thing, and I feel it allows me to explore in many ways while keeping an identity.


Chain D.L.K.: Would you say that Territoire’s sound influences your way of composing music for OSTs, or vice versa?

Olivier Arson: I always try to accept OST projects that share some connection with my personal work with TERRITOIRE, so I would say now both influence each other. TERRITOIRE taught me to instill some rawness into my scores, and with the work on films, I have learned a lot about translating emotions into music. I think it will come out somehow in the future.


Chain D.L.K.: You made a proper plot for your new album “Alix”…who is Alix?

Olivier Arson: Yes. I really wanted not to talk about me or personal experiences, so it was important I had an external concept for the record. When I started experimenting with the voice, I felt a character had been born. I chose Alix because it’s both a male and female name, as I wanted the character also to be as open as possible. More than a slave, I see him as a submissive being who has suffered a lot, physically and mentally, and tries to escape his condition.


Chain D.L.K.: Any references to contemporary forms of slavery?

Olivier Arson: Absolutely; it is a subject that resonates deeply with me, and even in our modern society, I think alienation through perception management strategies is also a form of slavery in disguise. And plain old slavery is present everywhere and still going strong (figures vary a lot, but it is estimated that at least 25 million people are in forced labor), but also human trafficking and prostitution, of course.


Chain D.L.K.: Would you say that Territoire’s territory is the one of Sonar as an active goer of Spanish festivals?

Olivier Arson: I would say so. I really like Sonar, and we had a great experience there a few years ago.


Chain D.L.K.: One of the collaborators in Alix is the renowned techno-maker Oscar Mulero… how did he help to forge the plot and the sound of Alix?

Olivier Arson: Yes, I’m very glad I could count on him. Oscar mainly did the beats and mixed the tracks. I think he was pivotal to the sound because he really instilled some strength in it. I think he wasn’t too much involved in the plot, but he totally understood the intentions and also did some great rearrangements on a few tracks.


Alix - cover artworkChain D.L.K.: Some tracks (such as the gorgeous “Esclvvv” or “Chant”) astonishingly manage to render a mixture of a longing for freedom and the attrition by some chain…is such a duality intentional or spontaneous?

Olivier Arson: I think most of it is spontaneous, but also there are moments where I didn’t want Alix to be only this doomed character. In the process of his story, I think it was important that he had moments of strength and even pride so he could try to get out.


Chain D.L.K.: “Quatre siecles de privileges” (French for “Four centuries of privileges”)…what’s the reference of this title? How did this reference get translated into sound?

Olivier Arson: It refers to Alix’s masters. This track is about the reencounter he has with the people who sold him. I thought it would be a slight moment of light; maybe he reunites with his family.


Chain D.L.K.: Have you performed Alix on live stage yet? If not, are you going to perform it?

Olivier Arson: Yes, we did the first show a month ago to warm up a bit, and we are now preparing a string of really special dates for after the summer.


Chain D.L.K.: Any work in progress?

Olivier Arson: I am starting a couple of soundtracks now and will work on new material for TERRITOIRE very soon!!


visit Olivier Arson on the web at www.olivierarson.com

Jul 102018


The sparkling idea and the intuition behind Nodding Terms (2018, col legno), the new release by crossover musician Ketan Bhatti, is that contemporary chamber music and groove club music can peacefully and harmoniously co-exist! In order to create a nest for these two meeting styles, Ketan invited the German-Icelandic Ensemble Adapter as well as his studio neighbors Paul Frick and Jan Brauer. The way in which they blurred the borders of new music and grooves is really amazing. While you’re invited to listen to the final result, check out this chat we had with Ketan just after listening to Nodding Terms.


Nodding Terms cover artwork

Ketan Bhatti “Nodding Terms” cover artwork

Chain D.L.K.: Hi, Ketan! How are you?

Ketan Bhatti: I’m fine, thanks. I just recovered from an intense rehearsal phase for my release concert last week. It was really fun, but I had to shut down my mobile for the weekend to clear my head and have some family time with my two kids and wife.


Chain D.L.K.: Just out of curiosity…are you a descendant of that Bhatti clan belonging to the so-called Lunar dynasty?

Ketan Bhatti: Psst. That’s a secret! No, seriously: I have never heard of them. Would be funny, if I was.


Chain D.L.K.: You collaborate with your brother Vivan, don’t you? Can you tell us something about this family affair?

Ketan Bhatti:  Yes, Vivan and me, we have played and worked together since childhood. He is 6 years older, so of course, everything he did, I wanted to do myself. So he would practice guitar, and I would play along on the drums.

First, we were playing in the same Hip-Hop and Reggae bands (he on guitar, me on drums), then we started producing and composing together in our cellar studio in Bielefeld, where we grew up.
Now we do almost everything as a team. We have our studio in Berlin, where I live. He’s got a little home studio in Bielefeld, and he comes to Berlin like once or twice a month.


Chain D.L.K.: Did you follow more or less the same path in music, or did you have different interests? Have you ever squabbled on personal musical tastes? 🙂

Ketan Bhatti: Vivan was into classical music at a very early age, while I hated it. 🙂 I was into improvising, and I almost stopped with music at the age of 7, because my piano teacher didn’t let me play a single note unless I could read it first. My mum searched then for a teacher who was more open to other concepts of teaching… That was a very important step, otherwise I might not be doing what I am doing today. I later also got into classical music while I was studying at University. Vivan studied classical guitar in Munich, while I studied jazz drums in Berlin at the UdK. Our common ground used to be Hip-Hop and Rock music. Then, Experimental music, Electronica, and Contemporary Classical music were added more and more. I think during the years we developed a common taste and interest in certain areas of music. It actually never happens that I dig something that he wouldn’t dig too, or at least get why I dig it.

We both are interested in music that is always on the edge of its genre. So we both like music that transforms into something else, something new.


Ketan Bhatti

courtesy of Graz Diez

Chain D.L.K.: You mainly composed scores, stage, and film music…how did you get closer to this branch of composition?

Ketan Bhatti: An old friend of Vivan’s, who happened to also study in Munich, parallel to Vivan, became a director and author in theater and film – Nuran David Calis is his name. We’ve worked with him since his first play in 2003 in every context of theatre and film. Since we were combining different genres, from Hip-Hop to Classical music, in his plays, we started to become these experts for combining so-called “Hochkultur” with “subcultur” (a typical German way of categorizing things…). That’s how the Urban Dance group “Flying Steps“ became aware of us and invited us to work with them on their project Flying Bach in 2010, which has now been on world tour for 8 years already. Since then, we’ve produced and composed the music for all their dance theatre productions. But I wouldn’t say that we do mainly stage music. It’s more like 50/50. 50% of our work is music for productions, where the music is supporting a story or any director’s idea (theatre, dance theatre), while 50% is music for ensemble or music theatre, where the music is in the center (concert music, music theatre). I like the mix.


Chain D.L.K.: Is there any soundtrack composer that you consider a wizard and a source of inspiration for your musical research?

Ketan Bhatti: Mmm, there are many composers who I admire for their approach to score music. The last score that blew my mind was the score to “Arrival“, composed by Johan Johansson, who passed away this year. The sounds he used were really amazing. He happened to work with the same engineer that we did on our last orchestra production, Francesco Donatello, who is a great producer and mixing engineer here in Berlin.


Chain D.L.K.: I’ve heard your recent output Nodding Terms…it’s really amazing! I particularly enjoyed its crossover style… How would you label it?

Ketan Bhatti: I don’t know. How would you label it? Before the release concert, we came up with the label “contemporary chamber music with rumble-beat“. Of course, the easiest way would be to say “Contemporary Chamber music with influences of avant-garde Hip-Hop and Electronic music”. But a lot of projects are labeled this way: “Hip-Hop meets classic”, “Classic meets Techno”, and so on… I always had the feeling I kept reading about projects that sounded the same as my music – following their text – but listening to it, it appeared to be always exactly the opposite – or at least a negative example of an attempt of this kind of crossover. For me, it’s really about “Nachahmung“ – mimesis between different ways of expression, different genres, and cultures. And Nachahmung always means more than imitation. It means transformation, metamorphosis, but working with your abilities. So if I imitate “something else”, and I’m really into it, I transform myself – and that’s crucial: not the “something else”, but something new! So Nachahmung always leads to innovation.

On Nodding Terms, I tried to evoke this mimetic process between these two genres – Contemporary Chamber music and Electronica or “urban music”.


Chain D.L.K.: Why did you title it Nodding Terms?

Ketan Bhatti: Well, I liked the picture of the expression “to be on nodding terms with someone”. And that you have the nod on this. Nodding is something that almost doesn’t exist in Contemporary Classical music in Europe. So I wanted a music that you can somehow nod to – but not totally. The rhythm is always a little weird. Sometimes the rhythm is what is not played… I’m very influenced by Jay Dilla and his way of unquantized programming. He is just the greatest. Everything is always a little too late, or too early, but since it’s all loop music, these irregularities become their own feeling.

Then, I liked the picture of two genres (Contemporary Classical music and Experimental urban club music) that only are “on nodding terms“ with each other…


Chain D.L.K.: Have you ever been on nodding terms with someone of the ensemble? Any word about Adapter?

Ketan Bhatti: Yeah, we have been nodding a lot! I’ve worked with Adapter since 2011. We met when the harp player Gunnhildur Einarsdottir, the percussion player Matthias Engler and myself played in the Brandt Brauer Frick Ensemble. We had a great time there.

I have composed several pieces for Adapter. Most of the tracks on Nodding Terms are composed for them. They are one of the few ensembles out there that are really into new music and that do play pieces by living composers. They experiment a lot also in the area of music theater and how music is presented in concerts. My first piece for them was a crossover between a scientistic lecture and a concert, involving scientists. So they are very open. And that’s rare. I’m glad they are working with me. But I give them a hard time. Playing these kinds of rhythms is really heavy. And since it’s never only just 4/4 meter music, it needs a lot of rehearsing to master this 7/16 -, 25/16 – grooves and play them tight. They do it great!


Ketan Bhatti

courtesy of Graz Diez

Chain D.L.K.: Is there a more or less hidden plot behind Nodding Terms?

Ketan Bhatti: That’s yours to find out 😉


Chain D.L.K.: Does improvisation play a role in Nodding Terms or not?

Ketan Bhatti: Oh yes, it does. First of all: I come from improvising. And I develop ideas while improvising. Although most of the tracks are written very precisely, there are moments where I didn’t write down what to play, but gave them instructions of how to play. In the live concert, we integrate a lot of improvisation into the set.


Chain D.L.K.: How did you brief before performing each track?

Ketan Bhatti: Well, since I come from the producing side, I had midi tracks that were pretty much giving a clear idea of what the track is about. Everything else we talked about, and in the studio we tried a different interpretation of certain textures for some pieces.


Chain D.L.K.: Nodding Terms as a Concert/Club Night in 3 acts…how did they relate to each other?

Ketan Bhatti: Paul Frick invited Milian Vogel (one of the BCL players on Nodding Terms), Matthias Engler and me for a Live Jam Session two years ago. We didn’t talk about what to play and how. It ended as one of the greatest improv session I ever played. Paul was using just his synth – Juno 106 and the Roland Sh101, Milian was using his effects on his BCL (Loopstation, Pitchshifter etc.). Matthias came with a lot of sound toys – and even a banjo! I just used my drum set. We decided that this should be part of our live set.

Paul Frick has an album coming out soon too. All three acts have in common the attempt to widen the range of experimental, but yet accessible music, with the same aesthetic background of avant-garde music – electronic and acoustic. So it fits very well. But it also puts the focus on different areas. Nodding Terms is more on the complex avant-garde side, the improv act more on the improvisation, and Paul’s part is more on the club music approach.


Chain D.L.K.: Have you started performing on live stage? Any amazing feedback?

Ketan Bhatti: We just had our release concert. It was amazing. It was the first time that I was on stage and felt like: this is exactly what I want to do. This is my music without any compromises. The audience was a wide range, from a classical music audience to people who are more into Hip-Hop and Club music. They all seemed to like it.


Chain D.L.K.: Any other work in progress?

Ketan Bhatti: Uff. It’s a busy time right now. I have my Trickster Orchestra, which combines instruments from all over the world to make an intercultural avant-garde music, with which we will do a big project in September in Berlin and Istanbul. Vivan and I are writing an orchestra piece for a project with the Flying Steps for 2019, and we are doing a film score as we speak. Also, we are writing an Opera for Staatstheater Hannover for 2019; then there will be also a Portrait Concert of me hosted by the Van Magazin on 29.9.2018 in Berlin. So it doesn’t get boring too soon. 🙂


visit Ketan Bhatti on the web at: www.bhatti-music.de