Kruder & Dorfmeister’s story is not ultimately one of refusal and renunciation. As the two began making music together in the early 1990s, there was hardly anything that the two didn’t do “wrong”, and therefore, exactly right.
At the time, Vienna was a metropolis of the aspiring techno movement and was active, during the initial heyday of the revolutionary style, with numerous successful artists, such as Pulsinger&Tunakan, Christopher Just or Electric Indigo. The gentlemen, K&D, rather followed the tradition of the continental “dancefloor” of the 1980s, which searched for a universal language of dance music, influenced by hip hop, rare groove, acid jazz, acid house and last but not least, of music between all those categories, preferring to play their favorite records in smokey bars than in the early mega-raves of the city.
As the early heyday of techno then evaporated and the first generation of groundbreaking clubs closed their gates (today it’s hard to believe that techno was declared dead, time and time again, in the mid-1990s!), K&D were already distinguished heroes in England and could hardly resist offers for remixing. But yet again, the two stubborn gentlemen didn’t play along: after the success of their “DJ-Kicks” and “Sessions” CDs, which sold millions worldwide, they turned down most of the offers made to them. After all, interviews with the hysterical tabloid hacks chasing after them was never fun for either of the two. Whoever heard the two produce at the time, noticed that the cliché of smokey time-loop jazz had long been an obligation to the dancing populace and gave way to their own spirit of research. Besides excursions to drum & bass and sub-genres, such as broken beat, straight 4/4 rhythms crept into their sets and many felt snubbed, because the sound didn’t fulfill those clichés anymore, or worse, they didn’t even get it and still believed in the eternal Balearic sunset.
The two still maintain an open concept, influenced by a wide-ranging taste in music and their ability to hear music, to feel and to be able to realize their musical conceptions. Kruder & Dorfmeister’s career can, therefore, be more closely compared to that of major role model, Brian Eno, whose work, from Roxy Music on “My Life in the Bush of Ghosts”, to his productions with David Bowie and his “Music for Airports”, was similarly influenced by an all-embodying, perpetually visionary and never shortsighted understanding of music.
So the two are happiest when people take their music and their DJ sets seriously for what they are: odes to hearing, feeling, sensing music and tonal language, which does not function like the many spoken languages of the world, but rather as body language: universal, global, unifying.