Rob Kap

What's the first sound that made you want to produce?

"DS2" by Future, that album is special to me not just because of Future's performances & what he says on that album, but the soundscape is so unique as well; dark, rich and beautiful. I started paying attention to what Southside, Metro, Zaytoven etc. had going on in 2014-2015. Then I got FL Studio in 2015 and just started learning the program very slowly, but DS2 was really like "I need to try & make music".

But a lot of the music that my parents used to play in the house when I was like little-little have definitely influenced my taste and personal preference, and that really ranges from like hardcore punk to UK garage to whatever and what not. Artists like Underworld, Napalm Death, Moby, Burial, The Hives etc., the list is long. I've started to really see & understand the impact of that later on.

When you build a beat, what comes first - rhythm, tone or feeling?

I guess they go hand-in-hand, tone sets the feeling and rhythm emerges quickly after.

How do you know when something's finished versus over-worked?

Intuition, the type that comes from experience rather than simple gut-feeling. Through multiple listens I understand when to wrap it up, have everything arranged & mixed and that's really it. Usually I start to remove things so the final product isn't exhausting to listen to.

Who are you listening to, your current rotation, that keeps your standards high?

KETTAMA, Lerado Khalil, Nolan, Izaya.

What's the name of your favorite private playlist?

Just a bunch of semicolons, it's a techno/house playlist. I don't really make playlists though.

Do you think sound design can carry emotion better than lyrics?

Definitely. Sound can evoke very strong emotions as there isn't a definitive model/formula with sound. With lyrics, even with more poetic & abstract ones, there is a strong emphasis on the meaning. That may leave me thinking in a more limited way perhaps. And vice versa, lyrics can be felt instantly and evoke strong feelings, too.

How do you keep your sound evolving without chasing trends?

Through learning and developing skills & a strong personal taste. And staying true to my taste.

What does underground mean to you now?

Nothing really. Underground to me used to describe a counterculture, a sort of do-it-yourself attitude, that attitude still remains now. But the underground as a word almost feels like a suffocating wasteland. It feels like a lot of people make songs in hopes of gaining quick fame and attention & a lot of it is sonically derivative, the sources of inspiration are in plain sight and disgustingly obvious. Or it's about being weird just for the sake of being weird. Although I'm still somewhat positive about it, I'm trying to look for the truly interesting & inspiring things within the not-mainstream music scene, and focus on that mainly as there are a lot of inspiring artists.

Do you prefer working with artists early in their career or already refined?

Working with someone early on gives me more artistic freedom, but also some insecurity & I might feel like being stuck at times. Working with someone that has a refined sound may feel restrictive, yet holds the standard higher. I feel like I have refined my own sound quite a lot now, but I need to be doing both really, it's not that black-and-white.

Which collaboration taught you the most about your own process?

Through working a lot with Izaya Tiji, Ejmonix, Velarian, Unitus, Bando, Molly and so many more. Working with Izaya I've really noticed how to stay consistent, keep experimenting & most importantly have fun with it. Even if it happens in a way where I don't really have to think about it. And this isn't limited to just working with him, you know? Just the fact of like "okay, I want to make music & I will, that's it" and through that my skills have developed a whole lot. I guess there's also an underlying notion of a growing audience, some sort of external pressure. Not really expecting anything, yet open to experience everything.

Dream placements or collaborations?

dmt_blunt.

Do you think chemistry in the studio is built or instant?

Depends on who is in the studio. Chemistry & trust goes both ways, some connections probably work out instantly, some people need more time to build trust & some connections will never work out. Openness & patience is important.

What movie feels mixed the way your music sounds?

"The Temptation of St. Tony" (2009). It's absurd, abstract, unexpected & aesthetically cohesive. I find these aspects in my music as well.

Which film score has influenced your sense of atmosphere?

"Dead Mountaineer's Hotel" (1979), "Enter the Void" (2009), "The Temptation of St. Tony" (2009), so many more honestly.

Do visuals affect how you produce?

Visuals probably affect me subconsciously. Something about how the mind processes visuals and how they take shape and change within my memory can be a strong source of inspiration in producing.

Would you ever score a film - and if so, what kind?

Would love to score horror movies, action thrillers, fashion films and experimental video art pieces. These genres specifically make sense in my mind. Anything stupid & fun would be cool as well.

Is imperfection part of your texture or something you correct?

Imperfection is definitely something that's even intentional sometimes, no point in overcorrecting as perfection doesn't exist. There will always be something to change.

Tell me about a deliberate flaw you built or left in one of your creative projects.

I have a random example really. The camera I use for my visual work is so old now that the sensor inside it has worn out. So all the videos & photos I take will have some "dead pixels" or unwanted artefacts. But I will continue using this camera as I find these flaws to be of my own, a part of me. Distorting anything could be considered a deliberate flaw, too.

What's the most pretentious opinion you actually believe?

Necessity is the mother of invention. That's like an unspoken motto of mine, so many truly interesting ideas & work have stemmed from just the necessity around it. You don't need to have the most expensive tools or the equipment, see what you can make with the least possible actually. That's creativity too, finding different ways using simple tools to bring more complex ideas to life.

Do you see sound as color, architecture or narrative?

It's something else to me as it's not anything physical in that sense. Sound is not a material you can touch or really see, but it still leaves an impression.

What emotion do you find hardest to translate into production?

What I find most interesting & challenging is trying to convey almost opposing emotions. Like you don't know whether you should be laughing or crying. That is how I feel or process emotions, too. These opposing feelings make for a disorienting & memorable listen.

Are drugs useful?

Not for me, distraction really. It really depends on a person, I don't mind if someone does & they manage it in a way where it doesn't harm them or others around them. Just by definition they can be useful, right? It's just not for me.

Is anything original or is everything a copy of a copy?

I think the lens we see things through is original. Whether you catch ideas & not really inventing anything new, you can still make things to be your own. There is a difference between a copy & a "copy". We collect ideas & connect the dots, but originality in that sense comes from which dots we choose to connect & which pathways emerge from that.

What's the most misunderstood part of being a producer?

The balance between leaving room for the recording artist & producer's own artistic expression. Maybe I see producing being closer to designing (than creating purely art) as it takes in count the recording artists needs & wants. Doesn't have to necessarily, the product is presentable regardless. Work ethic, too, keep it going & stop waiting for things to just happen.

What's the biggest risk you've taken sonically?

Sampling songs that I love and experimenting with different rhythms. I don't sample that often anymore or right now, but even with the melodies I create myself I have a repetitive and simplistic approach; I strive for minimalism and simplicity, even if these aspects are often overlooked & misunderstood as something that doesn't require effort or what not. But it is difficult to make something that is The Weight of What Remains, memorable & complete.

What's next for you - refinement or reinvention?

A mix of both, I feel like I reinvent something in my practice every now and then & then try to refine and master it, while striving for simplicity.