10 Questions with Gutta Kick

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10 Questions with Gutta Kick 

One of the world’s true music meccas, Memphis, TN, had never been a city noted for any brand of electronic dance. Through the influence of Nolan Leake, however, a prominent EDM scene in Memphis has become a reality. When taking the stage as Gutta Kick, Leake has a superb combination of technical knowledge, eccentric style and melodic flair. Behind the scenes, his tireless promotional efforts reveal a savvy entrepreneur. To learn more, we ask Gutta Kick 10 Questions!

yrDig: What is your greatest strength as an entertainer and promoter?

Gutta Kick: I think my greatest strength is the fact that I work hard and promote myself through thick and thin. This is the kind of thing that has given me support from all of the talented artists and DJs before me.

yrDig: What attracted you to music in the first place?

GK: I grew up in a “rock ‘n’ roll” home. My dad has been playing in Memphis all of his life and I’ve always looked up to him for music. He used to take me to festivals when I was younger and I have been hooked ever since.

yrDig: On stage, you definitely display a lot of “heart and soul” and you’re one of the most animated spinners we’ve seen. How did you mold your stage presence?

GK: When it comes to my style on stage, I just be myself. I like to play what I want and give the crowd something new. I’ve been producing beats and deejaying for five years now, and I like to stay a little more on the crunk side of the Memphis hip-hop sound. I like to fuse that Memphis sound with all kinds of genres. I just love to show it off on stage.

yrDig: Who are your greatest influences?

GK: I have always looked up to artists and bands like Pretty Lights and STS9, but I delve into a lot of different styles for influence. I enjoy everything from Three 6 Mafia, to Primus, to Led Zeppelin, to Bassnectar, to Zoogma.

yrDig: How much “before the gig” work do you put into a performance?

GK: I like to have most of my tracks lined up before the show, but I never play the same set twice. In my opinion, a good DJ can rock a crowd on the fly, in the moment.

yrDig: Is there any advice that you would offer to those interested in doing what you do?

GK: My advice to others is to be your own boss. Feed off the haters because you will have some, and never quit promoting yourself and your skill. Never overlook what you already have!

yrDig: The EDM scene in Memphis is now expanding at an alarming rate, but has been developing for some time. Given your recent slot at Trap & Neon with Waka Flocka Flame and the growth of Worth the Wait Fridays, why do you think it’s beginning to take off now?

GK: Memphis is always going to be a mecca for all sorts of music. EDM will grow and grow into new genres. I do believe Memphis has its own flavor in electronic dance and, with all the new talent that’s popping up, it won’t take long for us to have a spotlight in EDM.

yrDig: You bring a lot of outside talent into the Memphis area. How did your interest in scheduling and promoting shows come about?

GK: I have always had to promote myself and it is not easy. I started Basszooka, a monthly bass event, to promote all the new guys and to feature DJs that I felt people needed to hear. I keep doing shows like that to give others like me a chance.

yrDig: Any further aspirations?

GK: The sky is the limit for me. I’ll never stop grinding, even if I stop producing and deejaying. There is always something out there waiting for you to grab. You just have to use your resources and have faith.

yrDig: In a half-decade, what will your life be like in and outside of the music world?

GK: In five years I can see myself married, maybe with a couple of kids. As an artist, I want to have matured musically. There will always be more production to be done and more people to meet. I’m an advocate for the continued evolution of electronic music. Whether it is mine or not, it still needs to be heard.

Go here to play and download tracks from Gutta Kick.

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Nino – Nino

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Nino - Nino 

The debut album from Nino is an intriguing, worldly exploration. Composed by a man who relinquished his job security for a series of travels through North and South America, Nino merges elements of traditional South American music with contemporary pop settings, all to excellent effect. From the start, allusions to Simon & Garfunkel’s “El Condor Pasa (If I Could)” are unavoidable, and that’s not a bad thing. While it is important to note the traditional aspects of Nino‘s instrumentation as being representative of the Bridge over Troubled Water track, their similarities are merely the byproduct of a shared, regional influence. In fact, Nino often covers “El Condor Pasa” in his live repertoire, albeit with an updated flair. When listening to Nino, one need not go further than ninety seconds to experience its beautiful mesh of modern and traditional textures. Huge percussive flourishes and augmentative, electronic washes form “Alturas” into a track that demands immediate attention. I particularly enjoy its variance between arrangements of full sound and the interspersing of quieter interludes. In some settings, this dynamic variety might come off as a bit choppy, but in the able hands of Nino, it produces a nice flow. I’m particularly impressed with Nino’s diverse use of synthesizer textures and contexts, all within the confines of a single release. He switches effortlessly between grandiose (and sometimes wonderfully bombastic) phrasings and introspective, incredibly “Eno-esque,” ambient styling. Throughout the album, the listener is treated to an intriguing mixture of rhythmic backdrops, airy and spacious moments, and generously-sprinkled, traditional Andean instrumentation. Vocals are present; however, as a general rule, they are used as an understatement within Nino’s “voice-as-instrument” approach, without becoming the dominant focus of his songs. It’s a device that works nicely. The transposition of the “traditional” with the “modern” continues in “The Untold Want,” a track that could easily warrant the recognition of ambient electronica fans, as it pushes genre boundaries with a powerful, emotional construction. “Challa” is certainly not top-forty fare, but perhaps the most pop-oriented number that Nino has to offer. Here, the sheer strength and volume of its layers separate “Challa” from the commercial standard as the song progresses. “Dina,” with its highly introspective combination of rhythmic instruments, may well be my favorite track on the album, as it incorporates more instrumentation with chanting vocals. It is impressive that one artist can cover this much melodic territory within a single track and still retain consistency. “Cajamarca” is a fine example of how well folk music translates between cultures. Here, Andean rhythms and textures are again the focal point, and “Cajamarca” has a distinct South American feel to it; yet, the listener can easily drift to hear hints of Celtic influence. I would easily recommend this track to a traditional Celtic band, only to hear what they could do with it, as the composition is that good. Contrast “Cajamarca” with “Ronnie Stevens, I Will Find You,” an incredibly powerful piece that begins with a string-band style picking and is soon joined by a crunching wall of sound. One might refer to this crunch as “power-chording.” The song’s vocals, essentially wordless, are still used to great effect. “Ronnie Stevens” is a track worthy of significant airplay on the college radio circuit. My only regret in regards to Nino is that the lyrics are in a language that I do not understand (regrettably) and, as good as my listening efforts might be, I still can’t help but think I’m missing some of the goodness that the album has to offer. Still, this is a strong and triumphant debut. Sometimes, music is so piercing on an emotional and textural level that one need not grasp its lyrical intentions. Thankfully, this is one such album.

Purchase: Amazon | BandCamp | iTunes


9/10 Tacs

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10 Questions with Neil Campau of Electrician

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10 Questions with Electrician 

A while back, we were at a house party. One of the acts performing was a duo from Oakland, CA who called themselves Electrician. They were playing quirky, guitar-driven songs that had synthesizer accents. They sang about everything from mundane daily life to deep and intense emotions, and we were very taken. Neil Campau is the singer and songwriter for Electrician, and he offered these answers as our introduction to their artistry.

yrDig: How did the writing process for Electrician begin?

Neil Campau: I started writing songs for this project while touring Mexico in January of 2012 with my old band, World History. I had already decided that the Mexico trip would be my final World History tour, as I felt tired of the old songs and overall vibe of the project. I just needed to start fresh and new. While hanging out in the jungle outside of the Palenque ruins, some new song ideas started popping into my head. I got back to the states in February of 2012 and soon after started recording.

yrDig: When did you start writing and performing?

NC: I started writing songs when I was seventeen, with my Yamaha keyboard, while I was hanging out in my dorm room in southern Michigan. A few months later my parents bought me a cheap guitar and that’s how it all started. I’ve been performing since I was very small though, as I have been singing in choirs all my life and have also received a B.A. in vocal performance.

yrDig: What artists have been influential to your style of performance?

NC: I’m really bad at answering this question, but if I had to pick one person, I’d say Willie Nelson. His music has been an inspiration since I was a kid. Since then, folks like Phil Elverum and various others; sometimes, gloomy and lo-fi musicians from the Pacific Northwest have been on serious rotation.

yrDig: When writing, do you typically start with lyrics or with a tune?

NC: I usually have a basic idea or some simple words in mind. I find a room where I can be by myself, sit down with a guitar and scream and wail for awhile, and sometimes I end up with a song.

yrDig: Many of your themes contain a unique look into “ordinary circumstances.” What types of situations and events inspire you to capture them into a song?

NC: I’m not exactly sure. Usually, if some situation or event really affects me emotionally, I try to write a song about it. I know the song is finished when it’s hard for me to sing because I’m holding back tears (and/or all-out bawling). Full disclosure though, I cry easily.

yrDig: How is the recording process for you? Do you find that a few takes generally suffice, or do you get into detail?

NC: I don’t agonize over recording usually. I figure out the structure of the song in advance, get my recording gear out, and then work on it until it’s done. It’s most often about a twelve to eighteen hour process where I don’t eat much, I stay up real late, and I drink a bunch of beer. Then I listen to it the next morning just to make sure I still like it.

yrDig: Is the house route your preferred method of touring and performing?

NC: Yeah, I prefer to play in living rooms and basements and attics and such. It’s usually much easier to connect with the people, both while performing and in basic conversation. I actually run a website that catalogs those kinds of venues and promoters, all over the world, at Do DIY.

yrDig: Do you dread or enjoy live performances, and of course, why?

NC: Enjoy. I don’t usually get nervous, unless a close friend is watching. I’m kind of an introvert and recluse; performing and hanging out with folks at shows often ends up being my main outlet for larger social interactions.

yrDig: Compared to when you first started writing and performing, what changes have you seen in yourself as an artist?

NC: When I started out, I wrote songs about things like my shoes and my pet hamster. Nowadays, I write songs about relationships, the destruction of civilization, and killing things.

yrDig: What are your visions for the near future?

NC: I’d like to continue to evolve and not worry much about outside pressure to sound any certain way. I’d also like to continue touring a bunch. I’m having a baby in October or November, so I might have to get an RV or something to make that a little easier.

Go here to play and download tracks from Electrician.

Want to be featured in 10 Questions? Contact Silver Michaels.