VIP Interview: Wolfgang Flür
Ever. The yeah we, played there then. And. The colonel theater this old, art deco theater it was. Wonderful. Evening, it was absolutely, crowded, the cinema, and, today before, they. Invited, us to open a new building. District. It's. A whole complex of buildings with. Only, music. Education. For. Broadcaster. For producers. For, songwriters. For bands to play together, you know and, solo. Instruments to, learn what, a wonderful, school I had to cut the ribbon together. With, the with. The guys of the city and all. The sponsor, chefs, you know yes, the day yeah okay, and they. Showed me everything lit, the little rooms and there. Was a little protection room where a young young Alex. Alex. Young years, Alexander, young, maybe. 17. Years old very talented guy, was, seeking on his music. Program, on a big, stream. On. Most programming. It's. Trade, went into my heart sir Wow. Alex and above is this a mama. Okay. Who are you as a Wolfgang Oh buddy, I'm just working on that I'm. Not sure what it comes out at least but I said, I liked it very much. Can. You send it to me would you send it via why, should I. Maybe. Maybe we can do something together I had some, wrong. He. Did not know who I am with a cross the good thing yeah sure why us he saw just a lot, of his, teachers, and some sponsors, old man at least to him you know me, in between odd why should she sent, me. And. Then his teacher explains. Yeah. I've worked a little bit has brought some some easy lyrics, and added that at least it ended in. Robo, boy well, rubber, boy. Likes. It loud you know haven't I added, my melodies, and some some tricks and some waffles. And well so it became a really a nice piece for my next record Wow, and announce Alex. Young everywhere, I can you know I'm not a school day that's incredible, if you like the school, advertising. Um you know yeah so, that's not your average day in school is it. Also. That it was very. Nice so. So I suppose that was that was kind of my big question, for you that. If, you look back on yourself as a young, musician. What. Advice would you now give, to yourself and, to. Myself yeah, to yourself when you were younger in terms of we. Are the same I would say they're almost the same and do what you like and don't, wait. For others to show, you the way they might be is the right for you as my parents, thought, they wanted, to to, have me as an architect. You know, that would not be the the, the the, worst thing. For me of course I studied. A little bit that I had my apprenticeship, as a carpet, bill and. Anyway. Music was always in my heart and in my brain it, was the most important, thing but. Tell. These. You're. A you're you're adults, you're your parents, you know they, want the, boys to be. The, girls to be safe in life and really, may own their money from work you know they didn't believe that I can earn money with music, I did, not believe myself that, it, was it was a girl it had nothing to do you. Only wanted, to have fun. And of, course, creation. But it was more.
Fun. You know I've never good every. Community, the band was my family, always with, school bands the, amateur bands became, better and better and better it took very long, to, be a professional, but they call it today what is a professional, yeah who earns his money from. Being creative, yeah, so that started, much. Earlier than, the contract, because with, my last amateur event the spirits of zombie already opted good, money you know but. That was not a very. Creative. Band, we mostly made, a, plate cover versions, so, from, your English music. From. Pop music, because in Germany we had only Florida, and, we hated sure so. I am I heard you come, back to your question yeah yeah, you, must really. Um, fulfil, your life in you and, that what what is your delight in your talents. Yeah. You must explore. Your talents, for what do you what. What is it what are you able to do and don't, let anybody, anyone. Tell you what you should not do it's. Only up to the boil or to the girl. And, as. Already, explained. Sometimes, difficult with the parents yes, okay, and so it's, really interesting to hear you talking, kind of about joy, and. Doing. What you fills, you with joy and I think I've heard that from a few people who've been very successful, then instead. Of trying to copy what, existed, they, actually followed what made them feel yeah, that's. A good apprenticeship. It's, a good to. Learn something you're instil to play your instruments, at least you know and, when. When you know them properly to play it like me the drums or so then, you can leave that to copy of us then you find your way maybe to make some tricks and you do something different as the uncial and you found maybe and what, is the most positive then. Brick-anew. Own way. Yes. And so for. You as someone, who's been an innovator. And. Is renowned as an innovator what, advice would you give young people about finding. Their own sound finding, something unique because I think when. I look at the music, you're making now when, I look at the music and we've made down the years all of it is I, suppose it has a kind of element of futurism to it it's looking for something new and. How. Have you approached that and how would you recommend that young people do that instead, of as we say just copying what already exists, yeah. The, best is of course not copying clear. But, a set, copying. This good way to, teach, you. Yeah. To, know your tools your instruments, and I. Cannot. Give advice, and finding, your own way there's, that that's to. The people, themselves. You know so there. Is no no. Lesson, and family, in a school or maybe. A new University who teaches that, yeah, I mean a talent, is something which is very deep. Himself. You know and some. Some times. Nobody. Knows that in, what comes out of even, I in my age found. Talents in me much much later after craft works it. Is a process. You. Have ready to listen, properly to, your own, inner. Voice, in. A sounds and. Your passions. You know and, you don't have to stop them do you have them not to, press them down to. Calm them down just to open everything, what you can get only one life yeah, you know that you know it's, what you can give and, everything is in you if you, have talents, that does not mean that everyone, has talents, it must not come an, interesting. Artist, from any drawer out of everyone, we, need all the other peoples and our society. In Europe in the whole world needs everyone. To do anything that, we fit together know they meet we need also music, video music Peter, does music I do music you know but, also, all, the others like photographers. Like journalists. And yeah. News agent, so we need everything. So, the, all these things can be talents, you know to, be the, best maybe more, maybe average, but. We also need the average guys you need people to come all rooms in the hotel yeah, you know that, is not maybe a special, talent but we it we are all needed. And we are all on the same level because we need each other and so of, course it is very nice, if, someone has a special, talent so, he will rise up and be, above all the other and very price in and. You. Are, you know anything yeah, sometimes, yeah, very seldom and, so, what. Role do you see technology, as, playing, in all of this because that's another another, thing that I've always found, quite interesting is that I suppose it can either help you or it can sometimes get in your way or prevent, you from expressing, that creativity, and could, you maybe just tell us a bit about your.
Relationship With technology and, maybe how it's how, it helped you or any times that you found it kind of more of a hindrance. Yeah. At least technology. Is only a tool you know it's, instruments. Are needed. To. Bring a music to, anywhere to solve technology. In our way while synthesizers. It's an instrument, at least and. We have to learn how to use them it, is the same as we have to learn how to play guitar you know so, we learn to. Program. Our drum computers. And. To. Write. Melody. In programs. The. Music programs, which we had not put in my time in the 70s, it came up late under the making technique so technique is helping, but. It's not the most important, thing most important, thing is that you, have to have. An idea, what. You are talking about, or what what do you what. Are you thinking, is. Important. To you to, bring to the people is. It something with what you would like to tell like, birds you, know vocals, like, lyrics Rhine. In. The music when, you make pop music as we or. Is it just is, it just music so instrumentals. You visit, is. It danceable, do you do something to, bring to the dance floors. With yes which came up later also, so. Technique. Is needed, in. Our zone anyway. So. Electronic, music genre. But. At least I said it's just a, tool, you know we have to learn it yeah and it is very very helpful if, you can't. Handle it yeah, and, then so, the, music you're making at the moment could you maybe tell us a bit about the. Tools, you're using to make the new records, and maybe. How that's changed, and what you've kind of changed down the years in terms of how you like to work yeah yeah and I understand, a lot, of things changed, after as my. Former band and found. A, different. Approach to. To, get into music again, it, needed, it needed. And. Second. Talent. A difference. From a former band from 10 years you know of a time difference to. Get into music again so I won't, go into the details why that came but, at least it came again into my life and it. Came by. Detecting. The the the the, the. Storyteller in me I wrote. Lyrics I, wrote texts. And stories. And. Yeah. I learned. How to make rhymes from them and. During, the Rhymes I spoke, immediately. Came the, melody it's always still today yeah melody, came up how I would sing it yes someone else who is a better singer should say. In. My program, I have a good, female singer, who takes the, same part but sometimes, more and more, that. You make the, encourage, me to sing myself but a little bit technical yeah. Jota, and anything, else that, it is stable and all to chew on and so you, can make from. Your fault you can make also good tricks and put, sounds. From that maybe, maybe. Not but anyway. This. This is that became, more and more new to my life and more fun so. It's. My first project, after craft fact they are more project. I needed. Some. Co-producers, as I need today as well I'm not. Trained to do everything on my own I'm not so much the technician, yep in my, pro in my, programs. Yes and my. Projects. I need, partners. Sure, this is for sure as I have no bent anymore, I play. Today, again. Use. Or. I can try to use with everyone, nearly in the world it's a shame it is the same yes, very important, like pita together from bread. Is. My new partner today, I can announce that, really ok I love pizza, over the net of this and sounds. And files and at them have, ideally, discussed, them oh there, any many times and we. May. Be couple, sometimes all about that but.
We Find always a good end at least yeah, it's brilliant that you have the, internet, working so good with, us today that, we can send, fight in highest quality, there in fact that, we don't need to be in the same story in the same room but sometimes, we Skype yes, and they can look at other go to that point and shows, me his program, so microscope. Here we cut that yes, oh that's, so brilliant yeah. Also. Technique, you know I love the idea of a kind of trans-europe. Express between. Hebden Bridge and, yeah. That's it that's it that's amazing. It's. Fun well maybe a final, question that I recently. Recently. Watched the documentary called, the Defiant, ones and, it talks about Jimmy, Iovine the record executive, and. Dr., Dre the hip-hop producer, and in the film dr., Dre what he was asked about his influences, on his music, and he said that his two biggest influences. Were Kraftwerk and Nirvana. And. Rage. Yeah which rage, yeah, and that was the first thing that struck me was like you say the range between those and but. Then also just it, shows kind of what an impact music, that you've been involved with has had on you, know John was like hip-hop and then if you think the, influence that dr. Dre has had on other young producers. Then goes. Back to you, know music that you that you were a part of and, creating, how, do you feel about that the kind of the idea of being sampled of, having legacies, other than maybe the music you've made yeah I get that often really often that. We are. Sampled. The, most sample, then, belt my, former band kinda the, most sample pentalpha, all evolved when I when I hear that and I think we, made it at least yeah so of, course it it can even it can make us proud yeah of course, but sometimes it's a bit boring if you listen to sounds, or to the new music, anywhere, you, always hear some there's a little bit of fact there's a little bit of a. Try. To have this you know yeah I have. Been. Sent and. Album, and I. Couldn't, believe what I hear there was an Italian, guy who. Recorded, the most. Important. The most successful, cough records, new, hmm. And you. Won't hear it well. I mean only one part you hear it when he when he starts, to sing nobody. Can, copy loves singing. Yeah. This, melancholic. Way yeah. Like. My. Colleague you know but anyway, that. That's true but this is the sounds the tools free. Prepared. New, all of these with his, towels but his synthesizer, of, course there's many more inside and. Unbelievable. So, there is no copyright on all of this is as. We say um remix. You know right but like, all Richards, yeah, so. It, took years for him I think ya can imagine that sir, never, heard of anyone doing for people that lose a lot our fans. Here. To this work just in. Love to our music, that's. Too much and then and so tonight, coming, down to the gig tonight and. We're gonna be in the crowd so, what should we expect from your live performance how, do you how do you perform the music live. Yeah. Maybe, just a little bit it's always like that Jordan, is um sometimes.
Mostly, As and and does she play effect. Yes. Sir of course I break off that I. Wouldn't. Tell. Too much about tonight so, our. Gift a little surprise maybe okay, as. You know I was the. Drama. Mm-hmm. I love heart beats so. It can be also, really hard tonight so, ok. The direction, industrial, was. Hot movies, and so I, learned a lot. Not every, tune. Is from me and I play many, tracks also from. Artists. And DJs who my friendly, with who I met all my travels in the world sure it must be friends we must the. Shanna Tomas must. Be the same and sent nearly the same level as with Peter du gard the, interesting collaborations, and you've, been doing recently and, do. You think could you maybe tell, me a little bit of the story you were telling me earlier of how, you've been bringing together what I've referred to as your new supergroup. Ok. So I, live. In a place called captain bridge which I, guess. You have. Heard of, and. Yeah. So wolfgang. Flür. Was, in Kraftwerk to. The show there in the trace Club which is a fantastic. Wellness. Venue. And. We. Met up that night with a nice summer's, evening and, we. Had a great time he did the show dropped, Wolfgang at the airport the next day passed. Him a CD like you do of my music. And. He, really, liked it he called me and we. Ended up collaborating we. Became very close friends we've been collaborating and we write music. We. Always meet up in England and I do shows with him I support, him so. Yeah we there was one track in particular that that. I had a demo version of which was a track called Birmingham, which. Is. A track I wrote about four or five years ago and walking, really liked. The. Instrumental, of that there. Was a small, bit of vocal on there as well, so. Wolfgang, basically, took, that he. Added, a lot of synthesizers, yeah. It is a unique, vocal, melodies and parts, and it. Became a real collaborative, effort, it turned into this. Really. Rather beautiful, kind of modern. Electronic, pop, record. Then. We had the idea of inviting. Peter Hook along out of new order Joy Division he. Really liked the track as well he, played on it and. Then. We, thought we wanted an extra vocal on that we, me and Wolfgang wrote, some words together, he took them and reshape, them wrote all the vocal melodies and we. Had the idea to invite, Claudia, broken, who was in a band called propaganda, in the 80s who were she's, got a really beautiful distinctive, voice so. And, then Claudia is singing on as well so yeah it's turned into this rule. Melting. Pot if you like. With. Wolfgang, Peter. Hook klaudia, and it's, tending to it turned, into a rather interesting problem, will, play tonight actually at the under Club show yeah, now I'm really excited to, hear. The record and, hear how you guys, perform it live and, it, was also it's really interesting to hear Wolfgang talking, about how you collaborate, and, sort. Of in person obviously but also virtually. And and. Yeah maybe we could just say a little bit about how that process has worked and I suppose just as a as, a producer how you how, you find these different styles of collaboration, and maybe. And maybe any advice you've got for young people as well in terms of how they can collaborate. With people other than that yeah, well. I think the first thing to say is that I mean me. And Wolfgang, we immediately hit it off as friends you know and. Everything. Was very natural and you, know we enjoy to the scope that we enjoy each other's music and it was just a logical, next step really. So, we collaborate, over the Internet mainly obviously because Wolfgang's, based it düsseldorf and I'm in Epping, Bridge. We. Can send files back and forth we use.
We. Use we transfer, a lot. So. We'll send high quality 24-bit. Work files back and forth and, we, just mold the tracks you, know we're very open and honest with each other. We'll always give, our opinions, and what we like and what we don't like and, you. Know we always get to, the point where we're both. Really. Happy and. I think that's kind of key really you've you. Know you've got to be authentic and you've, got to you've. Got to be open as, well I mean it's very easy for a lot of producers to, you. Know you work in the classic, backing studio, you have your computers, and your synthesizers and you can get very much. Into a zone where you're very used to working on your own and. It's. It's. So, wonderful. To to. Bring other. Things into that environment, and just open, things up a little bit I, certainly. Find that Wolfgang, I'm sure, finds that as well so. Working, in that way it's great. We. Will, just send little ideas back and forth you know sometimes, you'll have an idea and you're out and about and you, know you'll use what's up or send, a text message or something what do you think of this and and. It, always gets shaped, in the end in the studio. So. Sometimes, we'll use Skype you know what we. Were running over the final edits of a mix and few. Points and obviously it's quite difficult to say our one minute 42, seconds, can we do this so we put, Skype on we played the tracks everybody stop it there can you do and, it's just like sitting next to each other you know it's so yeah, you. Really just work well so really you're. The whole world's your. Oyster when it comes to collaborator, and there are so, many things brilliant. Things the internet brings, to that whole. Arina, I mean. You, can, just talk. About Peter hook before that. Literally was me emailing, people sending, in the track what. Do you think, and him, liking it and I presto you're collaborating you, know so I think, you should never be daunted, by these things you should always be. Open to you. Know especially. If it's authentic and real, you know people, recognize. Stuff. Yeah, so yeah I think it's, worked pretty well I think that's a great message for young people to kind of be bold about. Reaching, out to people and the, possibility, of collaborating, over distance as well and yes, some, what some what's, next for the project what what, are you working on at the moment so we. Were just putting the finishing touch, finishing, touches to a new. Track I might, like to say what it's called Wolfgang. Yeah. We are it's called my inner voice so that's seven that's. Been quite, an interesting. Track. How. Would you how would we describe it I think we better wait till that one comes out but you know it's quite an interest in very. Talking. About being open and collaborative I mean there are, it's. It's a it's, in two very distinct parts parts, that track giving roundover to little, sketches of music I've worked on him Wolfgang, look to them so these would go well together and and. I thought I'm.
Not Sure about that, and. Then, but, you know we put them together and then I realized, what you meant so you know this whole collaborative, thing of other. People, looking in on what you do and you're looking at more, other people doing it seemed it with different eyes, is. Amazing, you know you you you can do things that can. Write tracks. That you didn't realize we're, already there staring you in the face so. Yeah it's becoming. Fascinating. What to finish that all. This energy comes out again, yeah. From this kind of experiment, takes. Again to just low direction, thank you so much talking to thank you an amazing conversation I'm, very, much looking forward I don't know with that one. I, can't wait to be on the dance floor tonight you know then I also can't, believe that there's a cross where we have the bridge connection that's made my entire year so you. Have been there when, you played there no, no I know I grew, up in had to bridge so and just, the thought that you've even plays that three years ago yes my mind rate that's actually amazing so well thanks so much for talking to us thank, you.