We are happy to announce the first ever Monument label podcast – featuring one of our favorites: Krill Music. Krill is known for their quality releases, pushing boundaries with creative artists, and of course keeping it all focused on techno. We took some time to talk to Espen Lauritzen, the head of Krill and meanwhile his new running partner Jonathan created episode 102 for Monument.
So what initially drew you into the techno scene, and eventually starting your own label?
I used to be very into punk and grunge, even had a band and played the bass guitar as kid, found lots of parallels with acid and “the no fucks given attitude” from the 90’s and the thrive, darkness and rawness from techno naturally got me hooked. Started going to acid parties in Buenos Aires and to Cocoliche which was basically techno boot camp. One of the owners then later took me in to work with them and told me you are getting an accelerated education in techno and house here, and I was indeed very lucky to be working at Cocoliche, promoting parties and booking artists. That was definitely a crucial point on my life where I got the amazing opportunity to meet great artists, both from Argentina and the rest of the world.
It’s such a shame it had to close because it was culture, and the only club back then that really took the risk to book artists nobody in South America had ever heard about. It wasn’t about the name it was about the experience to listen to music and educate yourself.
Around 2010 I moved to Europe and decided to start my own label, I stopped with the parties, and started Krill Music… Used to work in Antarctica for some years so that’s how I came with the name Krill, Hehe.
How would you describe the sound of Krill? What style do you go for when selecting artists?
When Krill started I wanted to represent the city’s default sound: Acid, Dark, basement-ready no fucks given techno. With the Habitat series we have gone more experimental but our main sound will always be darker, harder acid like techno.
What challenges did you face when starting the Krill label, and now that Krill is 5 years old, do you face different challenges?
The start of krill was very good I had the support of a really good friend and mentor Jonas Kopp who pointed me in the right direction and supported me since day one I can’t stress enough that Krill it is what it is thanks to his support all this years.
The biggest challenges Krill has faced when I used to run the label with two other people but as the releases kept coming we could see the different approaches and philosophies we had.
Economic disagreements led us to break apart and they decided to step out Krill. Those challenges where holding Krill back… We had one year where we only released one record, but now 5 years later I’m lucky to have a great team with me. Isaiah joined us last year and this year we are glad to have a new addition to the team with Jonathan who is now part of the Krill crew as label manager.
Krill Music was founded in Argentina, but is now based out of Berlin?
Yes, it was founded in Buenos Aires, but we have decided to base it out of Berlin since a lot of our latest releases have been from Berlin based artist.
How has this affected the label, and the people you work or make collaborations with?
This has clearly had a huge impact on the label and who we work with etc. Since moving to Berlin we established new connections with people in the industry and expanded our business. This is also how the new Krill crew has been established, without basing the label in Berlin this would never have happened and who knows what the future of Krill would have looked like then.
We also heard rumors about a Krill tour in South America, tell us more?
Well it’s not rumors anymore! A couple of weeks ago we announced the first step towards a much more active involvement in South America. I personally have been supporting several concepts in Buenos Aires and Montevideo doing some bookings and investments. We want to be able to offer the Krill Music roster the chance to come to South America. The tour kick starts in Under Club with me and architectural (Reeko), I/Y joins the 15th and 16th in Buenos Aires and Montevideo and Jonathan will be playing with us in Uruguay and with me in Paraguay.
So, what is the aim with this tour?
The main goal is to have this SA tour as a recurring thing every year, I am planning to go to Argentina every year from now on, last time I was there was 3 years ago so I am really looking forward for this.
You used to work in Cocoliche before doing bookings there and DJ’ing before you founded Krill Music, does this mean you are having a comeback in the BA scene?
It’s definitively a comeback and I have finally found people who share my same vision and want to work towards the same goals! Hopefully by next year we can add more Krill Music artists to this SA tour and make it something well-known!
Finally, you live in a fairly remote part of Norway. Does this help with, or influence the way to select and put together music?
Yeah that’s right, near Tromsø where I have my professional work and study to become a microbiologist. It helps fuel the label for sure and the darkness & coldness of the far north has no doubt had a huge impact not only on the label but also on my own music that I produce.
Tom Dicicco – Dying Breed – KRL005 ‘Habitat Part 1’
Luis Ruiz – dna from sirius – KRL006 ‘Orioni EP’
Benjamin Mull – 0331 – KRL010.2 ‘Habitat Part 4’
Stefan Vincent – No other way but down – KRL010.1 ‘Habitat Part 3’
Ascion – Poethics of Withdrawal ( Pfirter Remix) – KRL003
+plattform – Signal – KRL010.1 – ‘Habitat Part 3’
Charlton – Know Your Self – KRL007 ‘An end to good manners’
X501 – x501.5 – KRL004
Matt Saderland – The Catcher – KRL005 ‘Habitat Part 2’
I/Y – IUD – KRL010.1 ‘Habitat Part 3’