INTERVIEW: Koto Kill — Music Musings & Such

INTERVIEW:

Koto Kill

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I am kicking off this week…

by speaking with the intriguing and arresting Gabriel Ralls of Koto Kill. He has been talking about the new single, Riot at 45, and how it differs to the debut track, Vagabonds. I was keen to understand how Ralls' role as an audio technician and video producer affects and directs his songwriting; how the project of Koto Kill came together; whether there is any more material coming up this year – he recommends some new artists worth getting our ears around.

He talks about talks about gig possibilities and what he would say to new artists emerging; the three albums that mean most to him; what the scene is like down in Somerset (where he is from) – Ralls ends the interview by selecting one of my standout tracks from 2018 (so far).

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Hi, Gabriel. How are you? How has your week been?

Aside from badly dressing for this week’s schizophrenic weather, I’m doing great, thanks!

For those new to your music; can you introduce yourself, please?

I’m a producer based in London that likes to make Electro-Rock with an industrial edge: a genre I now call ‘Dystopian Disco’.

Can you talk to me about ‘Koto Kill’ and how the project came together?

Koto Kill was originally planned as a side-project to (former band) Plastique. The idea was to collaborate with many of the amazing musicians we were playing with at the time. The idea didn’t come to fruition but, when Plastique disbanded, I decided to pick it up again.

Vagabonds was my first effort...and it’s been rolling on from there.

Riot at 45 is your new track. Can you tell me what the story behind it is?

It started with (The Actions’ guitarist) Mo Stellato laying down with ideas on some demos I had been writing, which allowed me to see a new direction I hadn’t yet considered. It really snowballed from there: before I knew it I had (Dronningen vocalist and guitarist) Beatrice Bonnano rocking vocals and (former Plastique colleague and Yur Mum frontwoman) Anelise Kunz adding icing to the cake with her bass.

I have to admit I’m really out of my comfort zone with this ‘fun’ sound, but it’s a song that everyone wanted to be a part of, so it felt right to keep going keep with it and, well, here we are…

How do you think it differs to a track like Vagabonds? Do you try to put a different identity and persona into every song?

Yes, I do. Exactly! Vagabonds is about the political and sociological polarisation of the U.K. post-Brexit vote. Riot… is about a heist taking place in a record store, where everyone is being forced to dance to records.

Pretty easy to see that, in terms of concept, the songs probably couldn’t be more different, yet they still exist in the same universe to me: they both reflect the importance of music in our lives. I’m simply giving less of a sh*t about consistency these days; life isn’t that rigid and we’re all hypocrites.

When did you get into music?

In terms of producing and writing? I was sixteen and just joined college. I had originally planned on doing a computing course, but I resented this - as that’s what everyone expected me to do. So, on my first day, I dropped the course and took up A-levels in Music Technology, Performing Arts and Media Studies, instead. I found I had a knack for these and really enjoyed the process, so I’ve been doing it ever since….

Mostly on a computer, of course.

How do you think your role as an audio technician and video producer aids you as a songwriter?

I generally don’t consider my videos during the process of songwriting - that normally happens afterwards. That being said; the video for Vagabonds was actually filmed before the song existed. I had to work in reverse: start from the video then work back to the song - both were completed in tandem. Emma (Holt, the video’s dancer) gave me some incredibly sexy and powerful movements to work with, and that definitely directed the song’s sound. It was something I’d never done before. I don’t think many others have, either.

When I’m in audio-tech mode, I depend on the sound to carry over the emotion or intention of a song - and I’m always particular about how things need to sound to achieve this.

Does it add extra depth and creativity?

Absolutely. If I just wanted to write songs, I’d get a guitar or piano out and just f*cking do it. But, that’s not my style of songwriting…and nothing to do with the fact I absolutely suck at guitar and piano.

Originally, you are from Somerset. What kind of music were you raised on at a young age?

Somerset isn’t exactly known for its music except, perhaps, the Wurzels (you laugh, but they’re still loved there). But, it is known for Glastonbury Festival, so we were always fluctuating between having no decent music to having the world’s biggest artists in our little corner of the world. I mean; how else could I have seen Bowie on my doorstep?

Despite this, I was mostly raised on a healthy diet of The Beatles and Clannad from my mum and a whole range of Classical music from my dad.

For me, it was always about Michael Jackson though.

Do you have any gigs lined up? Where are you heading?

Right now, the prospect of performing Koto Kill live is - sadly - a logistical nightmare and I really need to focus on finishing the songs first…however; if there becomes a demand for a live performance, I’ll make it happen.

Can you tell us what we could expect from a Koto Kill gig? What does the setup usually involve?

Assuming this happens and I get my way: dancers, lasers and fire. Probably Taiko drums for good measure.

I prefer to make experiences rather than just perform a regular gig but, of course, it’s not cheap - and we’re in an industry that no longer has any money. I would settle for just lasers, but I’d still need to pay the band; so let’s file all the above under ‘someday’.

What do you hope to achieve in 2018?

I have another single ready to go and at least one other video nearly done. Right now, I’m just releasing stuff and seeing what happens. I’d like to release an album or an E.P., but I’m honestly taking things one step at a time and responding accordingly. You will hear more Koto Kill, though. You can be certain of that.

Koto Kill by Gergo Kovacsidisz 03 (1).jpg

Have you got a favourite memory from your time in music – the one that sticks in the mind?

I once saw White Miles perform at an Eagles of Death Metal show and they blew us away. I said to Fabio and Anelise (of Plastique): “We need to be supporting White Miles”. After the show, we met them and asked if they’d be interested in doing a show with us. A couple of months later, they emailed me asking if I could arrange a London show for them, with us supporting.

We actually made it happen and it was a night I’ll never forget. It just goes to show that if you don’t ask, you don’t get.

If you could select the three albums that mean the most to you; which would they be and why?

I’ll give you the abridged version, as I could be here all day:

1. Nine Inch Nails - The Fragile

Twenty-three tracks of aggression, synths; guitars and angst. An amazing dynamic between the songs, pianos and cellos and de-tuned acoustic instruments. So many layers to envelop yourself in - both emotionally and sonically. Possibly my favourite album of all time and easily one of my main influences.

2. Marilyn Manson - Mechanical Animals

While all the other goths were gushing black fluids to Antichrist Superstar and Holy Wood, I was much more in love with Manson's industrial-glam effort. There’s something quite alluring about him when you’re an angry teenager, trying to be a rebel in the countryside - but it made me feel powerful and creative.

3. The Prodigy - The Fat of the Land

I didn't realise it was possible to mix Dance and Rock music back in 1997, but it was, and I fell in love with it immediately. Bought it on the day of its release; skived off school so I could listen to it all day. Been listening ever since.

Koto Kill by Gergo Kovacsidisz 06 (1).jpg

What advice would you give to new artists coming through?

Keep writing music. Keep doing it. You gotta do it any way you can because you need to. I mean it. If you’re not prepared to keep on working on your passions, despite years of failure, then don’t bother. It’s hard work putting your heart and soul out there, but it won’t matter because it’s an incredible feeling when it pays off.

Of course, if you just want to become a celebrity singer, go on X-Factor. Or be incredibly lucky.

Are there any new artists you recommend we check out?

First; I want to shout out to Riot’s collaborators: Yur Mum, Dronningen and The Actions. I’m also loving CHAMBERS, YONAKA; Healthy Junkies, Polly Pick Pocketz; The Pearl Harts and Emily Magpie right now.

Some of my other favourite collaborators are Courtesans and Tokyo Taboo.

IN THIS PHOTO: Emily Magpie/PHOTO CREDIT: Alison Romanczuk photography

Do you get much time to chill away from music? How do you unwind?

Video games, mostly. At this point, I might not surprise you by saying I’ve also worked in the games industry, so there was a time I couldn’t face playing games – but, these days, I try to make sufficient time to do so.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Thanks for having me! So far; my most-played song of 2018 has been Hot Pink by Let’s Eat Grandma. Takes a while to get into, but the chorus is incredible.