"This Guy" KUNGS: Beatselector Magazine Cover Feature Interview

"THIS GUY"

From the clubs of France to the festivals of America, the infectious beats of 21-year-old DJ Kungs have aroused the world into a fast-tempoed frenzy that never ceases to amaze his listeners and ascend the charts. "This Girl" first propelled the ambitious French artist to renown with its addictive rhythm, but more importantly, it was the initial showcase of Kungs’ unique talent of blending diverse genres into a single sensational track. From funk to soul, rock to pop, and countless instruments in between, Kungs masters the breadth of the music spectrum like an artist with a palette of paint, and each song a masterpiece of creative design.

They say authors "read like a writer;"when did you begin to listen to music like a musician?

I like that [smiles]. I have always been surrounded by music, listening to rock music with my Dad and messing around with instruments that I couldn’t even play or understand yet. I think I really began to understand music when I began playing around with production software, and even earlier, taking an interest in different genres. I began noticing the structures of tracks in my teenage years and how different tracks can take on different forms and interpretations, which is probably why before producing original tracks of my own that where fully formed, I was playing around with remixing before I was noticed to remix some official tracks earlier on in my career.

How has your creative process for creating unique melodies with your own instruments changed since you first began?

I have grown in how I create. At first, I was messing around with instruments and finding my own way, just learning and getting used to ideas. But now, I can purposely use select instruments for sounds that I know more about, or that I want to experiment with but with more of a clear idea. My favorite is a MIDI performance Keyboard with a USB input that is super simple to use, in my studio at the moment.

There is a range of instruments, including horns and more, in your songs. How many instruments do you yourself play, and which others do you hope to master?

I can play a bit of guitar, I took some lessons when I was a kid. I would love to master the piano, it’s for me the most beautiful instrument.

Many musicians, myself included, remember distinctly those first few sessions alone with a cracked download of Fruity Loops. What was it like for you to have digital production software to learn from and grow with?

It was like I discovered a gold mine. At that moment, I just discovered that you can re-create a band only with a computer and software - I have used Ableton since the beginning, it is, for me, an unlimited source of inspiration. Cutting samples is for me the funnest thing and I think Ableton is the best software for this.

I never feel restricted by genre. I mentioned before some bands that I listened to growing up, and being able to collaborate them, was something I never thought would happen. I like the artists I collaborate with, or with "This Girl" being an older, soulful sample, it was important for me to keep that original character and essence of the tracks, or an essence of the artists I work with. I want to be able to blend these different styles together because I also listen to a lot of different genres. Who wants to be stuck in one sound? I think the future of music is very exciting and I want to hear as much of that music as I can and just keep creating!

What were your expectations for those first few unofficial remixes that you shared online? Do you think your style would have deviated at all had the response been different?

There was no expectations with my unofficial remixes, I just wanted a chance to create music and learn through what I was releasing. The fact that people enjoyed those first remixes was a blessing and completely unexpected – I really liked Bob Marley’s music but there are so many remixes of him out there, because he is such an inspiration to a lot of people, that I didn’t think people would take notice but they did! I don’t think my style would have been majorly different because I still played varied live sets but my productions are tropical and happy – I won’t be making dark dance music any time soon.

How do you plan for live sets? How do the crowd, fellow acts and setting affect your live performance?

It really depends. Like for my ULTRA mainstage set recently (that was also streamed all around the world), it was important to keep everyone hyped. I played a lot of well-known tracks with a fresh twist, for example, Bruno Mars ‘Versace On The Floor.’” People know that track and the lyrics, but because I played the CID remix, it made people think but also, it made people think but also enjoy themselves and dance. But if I’m playing more intimate headline shows, like my recent club tour in South America, fans expect me to play my biggest hits and I can really focus on more underground tracks too, rather than thinking about playing to a larger audience.

Not every great studio musician is an equally successful live performer, but you do both exceptionally well. What do you believe contributes to your ability to be such a force on stage?

Thank you! I think it is confidence in my work, I’m proud of everything I release and I am very much a perfectionist. Maybe that is why I get nervous, but I do not feel a “pressure” to perform a certain way.

As an artist, what was your goal with LAYERS, and how did you craft the album to achieve that goal?

My goal was to create tracks to show my versatility and also the music I like to create. Like I said earlier, I like to make positive music and happy tracks but it was also important to me to work with a number of different collaborators. Ephemerals are one of my favorite bands, so to work with members of the group, and guys like Luke from UK indie band The Kooks, I grew up listening to those guys, so to have them feature was a dream. I didn’t want any two tracks to sound the same, and I’m proud of what I created. I’m already working on album number two. I’ve been to LA and Sweden working with collaborators, other artists, and just working on ideas. I’m excited already!

According to your press kit, you’re due for studio sessions in Los Angeles, Paris and London. What’s it like going from producing on early digital software to working in international studios? Do you have a preferred process for recording? How does being in different studios affect your work?

Haha! I answered that already. It is great working in international studios, it is completely different having to let go a little in terms of studio teams and working on ideas coming together but it’s important, and great fun, working with other people can teach an artist a lot of things - but I don’t have a preferred process.

There seems to be a lot of genre-blending in your songs; i.e., "Don’t You Know" blends soul with pop; "Melody" features classic rock guitar melodies but an upbeat pop tempo; "Wild Church" is driven by exotic flute sounds and chants. What is your opinion on genre? Do you feel constrained by being defined by any certain genre? Does it affect your perspective on the future of music?

I never feel restricted by genre. I mentioned before some bands that I listened to growing up, and being able to collaborate them, was something I never thought would happen. I like the artists I collaborate with, or with "This Girl" being an older, soulful sample, it was important for me to keep that original character and essence of the tracks, or an essence of the artists I work with. I want to be able to blend these different styles together because I also listen to a lot of different genres. Who wants to be stuck in one sound? I think the future of music is very exciting and I want to hear as much of that music as I can and just keep creating!

"My goal [with LAYERS] was to create tracks to show my versatility and also the music I like to create... I like to make positive music and happy tracks.