Salute released his mini album this past Summer “My Heart” and what a delight it is. On this interview we talk about his roots and how it formated such a young mind to create such mature and captivating tunes. It is not often that we come across with such a young soul that has so much wisdom in it expressed not only in his compositions, but also in his words about music and the constrict strain the club scene is going through in the UK. Keep Salute in mind because surely he will deliver even more surprises as time goes by.
Can you tell us more about your latest mini-album “My Heart”?
‘My Heart’ is my attempt at telling people about my childhood through music, specifically my musical influences. I figured the typical 4 track EP format wouldn’t quite cut it, hence the length. The writing process from start to finish was difficult but in the end, it was incredibly rewarding.
For someone as young as you are your musical sensibility is astonishing. What were you listening to while growing up?
Thank you! I was brought up on a diet of r&b and hip-hop when I was young, thanks to my older brother who is 13 years my senior. Without his influence, I doubt I’d be making music in a first place. When he eventually moved out of my parents’ house though, I started to form my own music taste, and in that period I started listening to a lot of drum & bass, garage & grime, as well as a lot of weird James Blakeesque stuff in my teens. My parents played a lot of gospel music in the house when I was little so that had a significant impact on me too.
What artists would you say inspire you?
Any artist who manages to make music that nobody really understands momentarily, but then goes on to impact an entire culture of music later on. Hudson Mohawke or Rustie for example. When ‘Butter’ came out, it didn’t really click with people, but now 50% of pop production is based on music Hudson wrote in that era.
And speaking of inspiration, if you could pick someone to work with you who would it be?
Right now, probably Robert Glasper. The man has chords for days, weeks, years.
Combining your heritage and the places you’ve been/lived how did that mix shape your musical personality?
Growing up in Austria, I wasn’t ever really exposed to a particular scene of music that much; I guess that enabled me to develop my taste on my own, in peace. I listened to a lot of music from the UK as well as the US, so both worlds sort of collided – I think that works well.
What drove you to start doing electronic music instead of, well, opera for example?
I started making music by pirating software and learning in my parents’ living room. It’s entirely a thing of accessibility; I didn’t have the means nor money to go into anything other than electronic music. There’s so much you can do using a laptop, a small MIDI keyboard and some headphones – it’s also addictive as hell.
When you’re not composing what do you listen to for zoning out purposes?
Right now, I’m caning the new Solange album. Cranes In The Sky is my anthem. When I really want to zone out, I usually find myself listening to the Med School Music back catalogue, Bon Iver or James Blake. Anything in that vein.
Clubs are going through a severe crisis in the UK. What are your thoughts about it? Your music is probably not for hardcore ragers (or maybe it is who knows?) but since you’re living in Manchester I’m sure you have something to say about it.
It’s a damn shame. UK club culture is one of the things that made me move here 2 years ago – it’s incredibly vibrant, the music is amazing and the way the entire scene moves forward is properly innovative. In spite of what is happening now though, I feel as though people here aren’t willing to let go of what they’ve spent so long building. Squat raves and illegal raves are going to be on the rise again.
Some words of wisdom for all of those who keep fighting against freedom of dancing?
The more you try to take our happiness away from us, the less inclined we will be to even listen to you. There is enough negativity in the world as it is, being able to escape is essential.
By Carolina de Medeiros Cosme