At the age of 14 I discovered skateboarding, Drum’n’Bass parties and getting wasted. Attracted to all of the chaos, I also wanted to be a source of chaos. From that point I started to make progressivaly insane drum patterns. It was all like a videogame with results at the end.
I’d like to introduce you to another dope producer. This time from my own country, The Netherlands. His name is Luisterwaar. He’s 22 years old and he’s from the city of Heerlen. His music has a lot of ingredients from different genres. Hip hop, Breakcore, D’n’B, Electro, and Trip hop, to name a few.
Music: Luisterwaar – Konichiwa
His music is an awesome mixtures of these genres. You can play his music while you enjoy a summer day outside, or while you’re relaxing at home on a rainy day… Luisterwaar covers all moods.
Luc Derks, better known as Luisterwaar
While reading some info on his Soundcloud page, one can find out that his current release on SaturateRecords is basically his demo. They didn’t want to change anything about the release, they only mastered it. They call it a ‘MEGA-EP’.
The genre “Future Beat” is a rising star in the world of beat making, and I’m sure Luisterwaar is gonna be a big part in this development. Some critiques compared him to Slugabed, for example. You can hear the similarities between these two producers. Ultra low basslines, time-streched kicks, along with saws, squares and triangle waves form a steady foundation of Luisterwaar’s beats.
Luisterwaar’s music is timeless. An outerspace experience, that will pave the way for more future beat producers.
Tell us a bit about yourself…
I’m Luc Derks, Luisterwaar, now 22 years old and living in the Netherlands in a city called Heerlen. At the age of 14 I discovered skateboarding, Drum’n’Bass parties and getting wasted. Attracted to all of the chaos, I also wanted to be a source of chaos. D’n’B and Breakcore were my muse at that time. So I asked my brother to hook me up with some kind of audio-software. He told me a friend of him was already making beats through software and he hooked me up with Reason. Both teached me the very basics of how to create some sound with it, and from that point I started to make progressivaly insane drum patterns. It was all like a videogame with results at the end.
What kind of equipment do you use now?
At the moment a Roland Gaia SH-01, Korg Kaossilator and a curcuit bended Casio SK-1 Sampler. Soon there will be a Akai MPD 32 for livesets, faster workflow in the sequencer screen, and to juggle the sh*t out of drumloops!
Who influence you in your work?
As for artists ; Devonwho, Dorian Concept, Flying Lotus, heRobust, James Blake, KenLo Craqnuques, Kijk Een Ster, Kramphaft, MNDSGN, Mount Kimbie, Nosaj Thing, Raadsel, Salva, Shlohmo, Slugabed and Subp Yao.
But actually everything is an influence to me. For example, if you’re at a trainstation, you just want to record the sound for its vibe and then use it in your beats. Every single sound has its own emotion. Music is a by mankind composed piece to trigger emotions. 1+1=2. Put the two together and you’ll see what happens.
Sound is one thing, your creativity does the rest. For instance, record yourself trashing your room for five minutes and you got a samplepack for life if you look at it the right way.
Do you use analog hardware to create your music?
Right now I’m working a lot with computers, because I used to do this all the time. But I’m starting to learn how to use analog hardware and how to apply it. Eventually both will be equally used in my beats. First a filthy analog sound, and afterwards digitally destroy it.
What do you like doing besides beatmaking?
As long as I can express myself with it, I’ll try it. Got some paintings on the wall, some selfmade furniture. Making videoclips for a beat, watching documentaries, but most likely you’ll find me improving my musical skills.
Tell us a bit about your latest album: ‘Dry/Wet‘
I started my album when I got fired, which gave me plenty of time to work on my beats. The first day off I finished my first track. I named it ‘Praise the Lord’ah for havin’ No job’ah!’ Within half a year without a job, I saved enough beats for an album.
Unfortunately I didn’t save my cash so a job was required. That’s why I called ‘Praise the Lord I have a Job’. SATURATE!RECORDS liked the atmospheric sound in it and wanted to do the cover for me. With this album I asked if they could do something with a cloudy sky representing ‘Dry’ and a flying manta to represent ‘Wet’. They did that.
Where does your sound originate from?
It goes back to when Raadsel, Kijk Een Ster, Subp yao and I visited a workshop from Gill Arno about the strange side of music: Soundscapes. The way he worked, was to record a lot and then chop the sounds into your own composed piece without using other material besides the recordings. When everybody made his part, we were splitt into groups of two. One group started the jam, and after a while the next group took over. We did this for two weeks every night and got hooked on this way of creating music. Raadsel, Subp yoa and I still jam this way every sunday. All of this helped developing my sounds big time.
How did you get involved with SATURATE!RECORDS?
Raadsel had a gig in Nijmegen where Kramphaft also had to perform. After Raadsel’s set, Krampfhaft went over to him and told he made awesome beats. Raadsel told him Subp, KES, and I also make beats. Next thing we knew, all four of us received a promising e-mail from SATURATE!RECORDS. Jesus f-ing Christ!
What are you future plans?
New album(s), collaborations, tours, perhaps an education, starting a revolutionary riot in the music industry and having a good time doing it!
What kind of music do you listen to besides your own style?
I’m interested in everything, but besides my own I prefer jazzy stuff and dubstep right now.