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I was at university studying filmmaking – and a group of us were working on a commercial that had a club scene in it. Naturally, we had no money to license any music, so we had to make our own. I was the only one in the group that had dabbled with dance music before, so I had to go off and make something. That’s it really. I guess name ‘Knightlife’ comes from a few places – the street where I grew up and some artists that I’ve always loved. The biggest influence on my name is Le Knight Club. Pretty obvious really, but those guys really changed the way I thought about dance music. Heavy and repetitive and fun and not taking anything too seriously – that blew my mind. I was listening to a lot of instrumental hip-hop around that time – lots of Mo’ Wax and things like that – so it was all pretty dark and serious until then.
My desire to make music was born out of French House for sure. The simplicity of that music. So functional and fun and immediate. Early Daft Punk is a big influence – and all the Crydamoure / Roule spin off releases. Also my parents’ record collection. My mum played me Giorgio Moroder once when I was about 10 I think. That was the beginning.
Avais-tu des objectifs particuliers pour lâ€™EP Knightlife I (sorti en 2007) ? Comment en es-tu venu Ã travailler avec Cutters Records ? Did you have specific goals for Knightlife I EP (2007)? How did you get around working with Cutters Records?
The A-side for Knightlife I was actually the track that I made for that commercial I mentioned earlier and I was lucky enough to have a friend who knew the Cut Copy boys. He passed it on and they got in touch. It was pretty amazing. I’m a huge fan of Cut Copy, I love everything they do.
I guess I’m inspired and influenced by whatever music I’m discovering. With the earlier releases, you can definitely hear the stuff I was listening to at the time. I was very much into that ‘new-french’ sound – and from that point I went back and immersed myself in disco and italo. I also think I’ve gotten a bit better at the process of making music too, so I’ve been able to try stuff out along the way. Things are headed down a more house and techno path for me at the moment. I love the immediacy and simplicity of those tracks. How confident they are. Expect more tunes like Interstate 08 in the future. I’m really digging the new Tornado Wallace Kangaroo Ground 12″ and anything that Sleep D put out. Their new stuff is really tough, in the best possible way of course! I’ve also gone a little crazy for Paranoid London. Their LP is insanity. Almost impossible not to dance to, under any circumstances.
I don’t really have a set way of doing things. I wish I did! I usually just noodle around with a synth-line until late at night, go to sleep, and if it’s not terrible in the morning, keep working on it. Some tunes happen fast, some very slowly. Others extremely slowly. Don’t Stop began with me trying to make something like Tangerine Dream but with drums.
Suzanne Kraft a fait un remix assez cosmique. Comment a eu lieu cette collaboration ? Suzanne Kraft has done a pretty cosmic remix. How did that collaboration happen?
Have been a big fan of Suzanne Kraft for a while now and his name was at the top of the list when we were brainstorming remixers. His new Dude Energy stuff is amazing also. We were really chuffed to hear that he liked the track and wanted to remix it. It was a pretty simple and professional process really.
I wrote a bunch of tunes for an album, but we decided to put them out as EPs instead. Don’t Stop is the first of these. I love albums and have wanted to make one for a long time, but I also like putting music out and want to do more of it!
I’ve always wanted to do something live. Maybe one day soon, when I have a few more records out. A lot of people are doing really interesting synth-driven live shows now, so the concept of doing something cool with a few machines is a little less daunting than it used to be. That could definitely be something to work towards.