interview  |  discography

Mike Dred, 01.09.2001 at Cirques des Variétés in Liège (be), London, United Kingdom

1. When and how did you join the Rephlex team?

Right to the beginning. At the end of '91. I did it because I was already making music and releases on white labels. Some friends, Richard D. James and Grant Wilson heard my music and hope join together so we met in Germany a few months later and then we talked and listened to some music for about 15 hours or something and then we put an EP together. That wasn't the 7th release at all, I just like the number. It sounds like James Bond 007. It was quite hard acid music. There wasn't much around at that time, it wasn't like Chicago.

2. What are your favourite artists and influences?

You know, I don't really have an aswer for that, I'm really bad at names anyway. If I hear a piece of music, I like it, I'll go and buy it. I don't directly feed of anyone in particular for my influences. I think it's more a subconscious way. I don't deliberately rivalise to anybody else but if I do it's because I heard something somewhere, it's in my brain, so it's just come out in my way, but I try to be innovating my sounds, and my sound designs, my ideas, so I'm just always buying records and always listening many different things, nothing direct, nothing unique, just anything.

3. I suppose it influence you in your music composition?

I've just being a dj having head in recordshops all the time. The sounds coming out your heads, you know other people sounds. It has to have an effect on you, but my favourite thing to do is to make my own sound, create sounds on my computer now as it was when I samplisize but I have more flexibility, more freedom, and scopes to do more unusual sounds. My passion is create noise that other people haven't made.

4. You are famous under the name of Mike Dred and Kosmik Kommando. Do you have other nickname?

No:-), I used other names for records but just maybe one or twice, they are kind of mysterial, people don't really know me, so I don't really say, I just keep them kind of mysterious.

5. Other concepts?

Absolutely, just to do something to see what they say, think and sit there laughing because they don't know you.

6. Is it for the diversity of sounds?

Yes, definetely, it's nice not to be, as we say in England, pigeon-holed (when people associates you with just one thing), but I don't want to be like that, so I naturally want to try to express myself in definites styles. I can experiment in that way by using a name not known by anybody, I'm just doing that, and see what reactions, judgements... if they know it's Mike therefor, it's shit or it's good, if it's Mister X, they can't have any preconceptions. They can't make their mind up before they heard the music, so it' s nice to do records with no informations. Sometimes, because the listener has a more open-minded and fresher attitude. For this reason, when I use names, I don't tell people. We have to catch a lot attention to discover what it is... Nobody will really find out, so just one or two of my friends know, that's it. But I haven't done it for a long time since about 6 or 7 years ago. But this year, I'm going to release a record that is by me, but you won't know that it's me.

7. So we have to catch a lot attention to discover what it is...

Nobody will really find out, so just one or two of my friends know, that's it. But I haven't done it for a long time since about 6 or 7 years ago. But this year, I'm going to release a record that is by me, but you won't know that it's me.

8. What is your best musical memory?

There are so many... It's just everytime I play well and I feel good about myself afterwards, the best point of view for a Dj is when people go crazy and making smooth mixes to give a lot of energy to people to dance to. I'm trying to do so, when I do a really good set, that my mixes are really perfect, that I think my mixes are really perfect, I think it's perfectly the, that's the best memory. And that happens sometimes. You could look in another angle: travelling, I get to travel everyway, and going to places like Japan, Australia, America, Iceland, and places like this. I guess one of my nicest memory is getting to Iceland, and see the northern light before going to a club, Aurora borealis, that's like the best thing you can see. It was really strong, the colours it's like a magic carpet, fairy dust. I would not have seen it, if I wasn't playing music, I was booked to play at a light show, and that was one of the thing that happened because I was doing music there, but without the music, I wouldn't experience that, so it's kind of a slightly offtrack, these moments are really special because people get you over there, they pay you to get there and it's cool, really.

9. What about your future projects?

I think, definetely a new single, maybe 2 or 4 tracks, I'm not sure yet. I've got to get ready to make four. Then, a new album very abstract in the ways the sounds are produced. I want to make people dance to it, so I'm trying to take the ideas I did with "Virtual farmer" which is very electro-acoustic and put more those techniques behind, complex rhythms, I suppose textures, some just Ambient, some more for the dance-floor, but with really complex manipulators, or sounds, and ideas. I wand to work a lot with dynamics, with movements of sounds around the head, and just see how it works in a club. So long as the rythm is in the middle, that's the driving energy, so with headphones it can be a good experience as well. I want to keep it tight, so it just don't fall over. I have a release on Beta Bodega in 2 or 3 weeks, I think. And it is tracks I did 10 years ago, it's old music, kind of hard Acid, but it keeps the flavour of the others "Universal Indicators".

End of transmission...



kosmik @
Mike's agent:
Katrien Klausing (katrien.klausing @