We all know Krischan Eric-Jan Wesenberg as the creative force behind Rotersand. We also know him from his recent involvement with Future Lied To Us and Radioaktivists. Krischan Wesenberg was already busy with numerous other projects before he got some name in the electro-underground scene. Most of this music was released in the 90s and was inspired by techno-related music. Last year the German composer/producer/DJ released the solo-album “Third Places” under his own name ‘Wesenberg’. The work released on Audiophob is a rather eclectic electronic production, but once more revealing the great skills of this unique artist. It also is a conceptual work around ‘a social concept defining the home as the first and work as the second place, while places of social interaction comprise as third places’.
(Picture credits: Frank Güthoff – Interview courtesy by Inferno Sound Diaries )
Q: You’ve just released the (solo)-album “Third Places” as ‘Wesenberg’. The work clearly reveals an impressive spectrum of influences, but I can imagine also a more personal approach than what you’re doing in Rotersand and co? What is it all about?
Krischan: Before 2003 I usually wasn’t busy with production and/or mixing of my different projects. Since 2003 I’ve been mainly working in band constellations focusing on sound design… or being active as producer for other bands. During the last 15 years I improved myself in all the technical aspects of music-creation. When last year in March I’d had some days off I started composing some stuff just for fun. I realized that I’d reached a state of consciousness and happiness with my technical skills so I no longer had to worry about it and just could focus on the vibe and flow of the music I’d created. It made me feel so good and free that I started to collect some musical pieces which ended up as “Third Places”.
Q: Did you try to accomplish some particular with “Third Places” and did you discover new ideas/elements in your work?
Krischan: I tried to refer to states of emotion; certain kind of atmospheres that I felt when I was spinning in different clubs (the song names are referring to clubs) from todays perspective, mainly rooms I’ve been to in 90s. The special vibe of each room and crowd is a bit like a memorized-footprint, which I’ve tried to put into the music.
Q: “Third Places” sounds very eclectic so where does this eclecticism comes from and do you have very specific artists and/or albums that made you become the artist you are today?
Krischan: “Third Places” is obviously connected to the different styles of music I’ve listened to and I’ve DJ-ed throughout the years. Quite recently a magazine asked me for my top-5-albums so those are some specials which I listen to from time to time with ongoing pleasure, but I don’t know how they shaped my work: Kenny Larkin: “Metaphor”, Miles Davis: “Bitches Brew”, Philip Glass: “Solo Piano”, A Tribe Called Quest: “Low End Theory” and Basic Channel: “Bcd1”.
Q: How do we have to imagine Krischan Wesenberg working in his studio? Do you’ve a specific way of working, a kind of structure, favorite gear, eventually tricks?
Krischan: Not at all, I try to stay open as open as possible for different approaches and ways to create and produce music, but of course I’ve some tools I’m often using and specific ways to do things I often fall back into. Nearly everyone visiting ‘Studio-600’ points out that my studio it is built to be used while standing and not sitting. It keeps me moving and dancing, somehow more active while working. I still adore my Roland TB-303.
The only trick I’ve to offer is more a tip or recommendation: don’t stop exploring music, listen to stuff outside the box instead of the clichés you usually like. If you just listen to the bands you are a fan of, the music you’ll create will be most likely bound to that style.
Q: You’ve released an impressive number of productions as ‘Wesenberg’ and worked together with numerous artists. What are according to you the ‘major’ releases from this discography and, which ones are the best ‘ambassadors’ from your personal sound perception?
Krischan: Nowadays Rotersand definitely is my main band; it’s the band that not only brought me into this scene, it also was and is my first real band-experience (including touring, live-performances…). Consequently I think “Welcome To Goodbye” would be Rotersand’s major release in my books although I more like “1023” from today’s point of view. As ‘ambassadors’ I would like to point out the the Homewreckers-albums “American Ruhr” and “Machine Kiss”. Homewreckers has always been a safe-spot for my soul.
Q: To me you are a real ‘sound wizard’, which stands for a musician/producer who strives for unique sound treatments, a perfect mix and an accomplished production. It all sounds like pure passion, but still striving for perfection! How do you see yourself as producer and what are the main elements you’re focalizing on?
Krischan: First of all thank you. As a producer I’m mainly trying to honor each band I’m involved with or I’m working for as an artistic entity or person with its own spirit and soul, clichés, style and history. So before I start working I take the time for a longer chat to get an idea what either band/artist or album or song is all about and should be about.
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