Kris Baha makes music that works in all settings and transcends genres. After a time retired in the studio, he returns to the spotlight with all his strength with the LP In Your Arms published on the label She Lost Kontrol. With infinite support in the radio, Internet and in the clubs, his strong reputation is being consolidated both locally and internationally that will give a lot to talk about…
How did this fantastic adventure start for you?
I guess it started when I was 4 years old performing as a magician. This came about through my parents who are both in show business as creative producers & directors. After doing that until I was 12 I realished I didn’t want to continue doing magic and switched to music, which was always a key part during my magic phase as I was already sourcing new music for my acts. My dad also does the sound design for all of their shows so I would sort through his collection and listen to whatever new music he was listening to at the time. Monkey see monkey do.
How have things developed since you started?
I have gotten to know myself better and develop my own way of working creatively which has led to a much healthy state of mind for a higher creative output.
What was the music of your teenage rebellion?
Rammstein at age 12!
Do you still remember the first record you bought with the specific goal to play it as a DJ?
I had too many of these moments, I still do, I think once you lose this moment then maybe you are not enjoying it anymore, granted it probably isn’t as intense when you are younger but I still get excited to play out other people’s music.
How did you discover electronic music?
Through various sources, my fathers record collection but also through the band Rammstein and then wanting to find out more of the ‘electronic’ side of the band. From there I was hooked on wanting to write electronic music you can dance to as a band, but shortly after this I realised there was a culture dedicated to dance music and artists who did this, DJ’s.
What is your music criterion? How would you describe your musical process?
I split the music making process into three parts and for me this is very important. The first process is the creation part and that should be 100% experimentation and freedom without self-judgment, no matter what. Once the live performances are multi-tracked I leave the sessions for about 1 month and then revisit them with a much more analytical perspective. I can see clearly where the performance honestly needs to go. I feel this way I am not emotionally invested in the two processes, they can be independent and equally rewarding.
The first part means I can just endlessly create sketches, without self judgment, and the second part means I can sort through everything I have recorded and have plenty to choose from, even if half or more are shit, I will still have a bunch that’s worth investing in.
The third process is the mixdown which happens a bit during the second stage but as a mixdown engineer myself I still hold that as a separate process.
What can you tell us about your last album published on the label She Lost Kontrol?
It was a collection of work that came together very quickly at the time of a friend’s death, so it was quite an emotionally charged reaction. Co-incidentally the guys at the label had the same situation with a friend of theirs passing one week after, so I guess it’s a joint expression of sorrow and fragility.
What turns do you think your sound has taken since you first started?
I would say its always evolving and for me that keeps it interesting, as long as I can keep “me” in the evolution I think that’s important.
Who or what influenced you to get into the music industry? What have been the most influential factors on your career so far?
Even though I am somewhat new to the scene on this side of the hemisphere, I have been writing music since I was 12 and now I am 30. I have also been dejaying from age 13 and professionally dejaying in clubs since I was 17 in Australia. For me, there has been so many different bands, artists, movements and experiences that have moved and inspired me, to be specific, though I think the most influential factors have been the support from fans and other artists I looked up to which in then led me to to trust my own artistic instinct.
Having worked in a number of different cities what are your thoughts on the DJing community in Melbourne, Berlin or Amsterdam?
They all offer a very different perspective to nightlife and social interaction. Berlin is unlike any other city I have been to as is Amsterdam. I haven’t been back to Melbourne for two years now, so it’s hard for me to say or try to compare it to other cities I visit frequently, but for when I was there last it was also very different and I think that these differences are what makes each city unique.
If you weren’t involved in music what would you like to think you would be doing?
I can’t even imagine doing anything else.
What are you obsessed with at the moment?
Whats your favourite place on earth?
You’ve got such an extensive list of different projects… So, what’s next? What can we expect to hear from you in 2019?
For 2019 there is a new Die Orangen LP followed by some EP’s and singles. Various collaboration projects with other artists plus an LP from myself on Cocktail D’Amore, another EP on Pinkman and a few smaller EP & singles scattered along 2019…
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