‘Whatever It Takes’ is a phrase I’ve been saying to myself over the last few years, when I despair with manipulative behaviour, in the face of what seems to be happening in the current climate of media/consumer culture; the lengths that people will go to, the things that they will do to get attention or change people’s opinions. Often people will do whatever it takes to get noticed.
Klute – Whatever It Takes (SUICIDELP20)
I firmly believe that if you want to make a statement in music, you write an album and at the moment those statements are as relevant and interesting as ever. There are still artists that invest time and effort working on well-considered, profound narratives and multi-layered album concepts. Some get it right effortlessly, some lose the plot mid-way and others end up with a collection of selected works. It doesn’t matter anyway; the merit of album writing as an art form is to evoke different emotions and interpretations, unveiling beauty and truth in due course. Despite the convenience and luxury of streaming technology, the beauty of music transcends through time or media formats and listeners that are really into music are still paying attention.
Last year, Klute featured on the blog’s ‘Tracks I Wish I’d Written’ series and revealed that his 9th album was already in the making. Fast forward eleven months later and his new LP titled ‘Whatever It Takes’ is finally released tomorrow (October, 25th). A certified album artist with a rare consistency that spans more than two decades, Klute has opted for full-lengths as a platform of artistic expression, although he could get away with releasing a string of singles for pretty much any label he deemed fit. His latest album is a distraction, refuge and personal remedy from the white noise and hysteria of his surroundings and encapsulates the artistic maturity and versatility of an artist that has defied trends, formulas and genre confines. Renowned for his unique talent to instil a multitude of influences in his productions, from his punk/hardcore origins to techno, house and dub, Klute’s broad repertoire abounds with incredibly inspirational music.
“… a touching piece of graffiti appeared on a wall during the gig – a vertical line, a horizontal line and then the two conjoined – we control the vertical, we control the horizontal, we control the Zig Zag…”
The Emperor’s New Clothes LP
Over the years I have developed a penchant for albums. Immersing in the underlying atmosphere, I am intrigued by the influences, the samples, the lyrical motifs, the artwork, the concept, the evident or cryptic messages they convey; everything eventually culminates in a narrative with a purpose and a profound personal touch. I prefer traditional structure: an opening track foreshadowing the main theme, which is divided perhaps into multiple sections with interludes or vignettes and a closing track that concludes the musical journey. Some artists get it right effortlessly, some lose the plot midway and others end up with a collection of selected works. It doesn’t matter anyway; the merit of album writing as an art form is to evoke different emotions and interpretations, unveiling beauty and truth in due course.
So far, all the tracks presented in the ‘Tracks I Wish I’d Written’ series have been taken from singles or EPs – the only exception being issue#5. However, this time around I revisited the albums of my collection for the latest edition: throwback to 2007 for a track written and produced by a certified d&b ‘album artist’. Having released 8 studio albums and a 9th due next year, Klute has proved to be one of the most prolific, diverse and revered drum & bass producers, renowned for defying trends, formulas and genre constraints. His unique talent to instill a multitude of influences in his productions, from his punk/hardcore origins to techno, house and dub has resulted in a broad repertoire of incredibly inspirational music.
The second part of the blog’s mini-series covers the period 1997-99. What may have started timidly for artistic purposes or exclusive dj promotional use, by 1997 it became almost de rigueur for record labels to commission drum & bass versions for selected singles and various remix compilations. The niche underground genre infiltrated the mainstream and many d&b producers signed with major labels to curate collections or record personal albums. On reflection, it turned out to be a double-edged sword.
On one hand, d&b found its well-deserved place on the electronic music map. Artists were finally rewarded and vindicated for their efforts and their work was introduced from a limited connoisseur circle to a wider audience, providing them with a vital and creative space for experimentation. Commercial success and critic appreciation motivated accomplished, as well as up-and-coming producers to master their craft, pushing the musical boundaries beyond genre confines. On the other hand, the roller coaster of media exposure, politics, cloudy distribution and licensing agreements, self-indulgence and the drama that inevitably occurs when money and temporary fame enter the equation, terminated careers and friendships untimely and ingloriously. Effectively, drum & bass re-entered a phase of introversion, darkness and belligerence marking the end of the romance. An injection of fresh air was desperately needed and a new breed of producers and record labels emerged to fill in the gap created by those who helped the scene flourish, but sadly realized that they no longer fitted in the d&b reality of the new millennium.
A veteran producer, a prolific artist, a dexterous sonic fusioneer, a label owner and one of the most interesting figures in the drum and bass circuit Klute is the primary recording alias of Tom Withers.