Kryshe is the solo project of German musician and sound artist Christian Grothe. With the use of trumpet, guitar, his voice and electronics he creates colorful soundscapes. Back in January, he released the new album Hauch. Next week he will release a new full-length titled Continuum which is out via Serein.
According to the press release, Continuum is very much a continuation of the sound Kryshe presented on previous works for Serein, March Of The Mysterious and Hauch. Continuum is an album of texture and colour. Singing trumpet lines and vocals float along delicate, sparkling streams of experimental sound. Melodies emerge over soundscapes full of plucked strings and tines, white noise and field recordings.
Today we have the pleasure to premiere the full streaming of the album. We also had a talk with the German artist about the new work, the artwork, his way to think music and more. Check it below.
Let’s Start from the new album “Continuum”. How was born the idea of the album and what was the path of the creative process? How much it is close to the previous work “Hauch”?
When I look back on the processes of my last albums I can say that actually all the processes where very different. It didn’t start with the intention of making an album. The time I was „working“ on that album was a time where I was traveling. During my travels I always made recordings. A little sketch here and there. Some tracks came with the process that I created to make sounds for a binaural sound walk in Hanoi, in Hanoi I had a recording session with a Vietnamese Zither player that are in one track, some tracks I arranged and recorded during my internship at the Greenhouse Studio and you can hear field recordings from Istanbul where I had a concert. After this period of traveling I found myself living in Berlin and I realized that I never stoped creating music on my way and that all the music fitted together in an album. The process of Hauch was very different. And I actually created after Continuum. Hauch was produced just in my apartment in Berlin using a sampler and a tape machine.
Artwork is a real piece of art. How did you choose it?
The Artwork is again by Ole Ødegaard. An artist that Serein is working with. I really like his work. Thats what he came up with after hearing the story of the album. He and Huw from Serein are very sensitive and I always think their Ideas are amazing. It totally reflects my feeling for that record. It describes a journey and connectedness spiritually which is very important to me.
It is your third album with Serein. How much is important to have. behind your releases, a label which is totally available with artists and support fully their work?
I am really happy to already have three albums out at Serein. It became some kind of home for my music. It is so healthy for me to have an output for my creative studio work and already grew so much with Serein. And the most important thing with Serein it feels very effortless and in flow!
How did you start to play trumpet and which artists inspired the most?
Trumpet was actually my first instrument I learnt in primary school and I had lessons till I became a teenager. Then I got more into playing distorted guitar in black metal bands (no joke). My teacher I had for years was Frederik Köster who is now quite known in the Jazz World. He is still an inspiration for me also he has a very different style but his playing is impressive. I started making ambient music as I studied music production. I didn’t play the trumpet for a long time and then had the Idea to combine it with the ambient music I was producing that time. A big inspiration that came then was Arve Henriksen. Still one of my favorites.
Considering what you like and what you do, what is your way to give new shape to the sound and what is your idea of experimentation in art?
Experimentation is what I like most. I am always looking for new ways and setups to
create music. So my setup is changing all the time. When I look at my setup one year ago, the only thing that stayed is the trumpet. The way of processing completely changed. In the beginning I was into Max/MSP. A long time I couldn’t use a plugin that I didn’t make myself. And still most of the things I am using now are pretty much self made. I just finished a LoFi looper with an Arduino. What I like about experimenting is that it forces you to listen. And listening is what I like. I like to explore sound and am very curious for example how it sounds to play sound on a cheap speaker and record it again. For me there are no things that bad sounds or high quality sounds. There are just sounds and every sound has something special.
Back in April, you played a show with max Ananyev. Can you tell us more about that day and your approach to live shows?
Oh yes that was so great! Max also released on Serein we got in touch and had the Idea to make somethings together. So he organized a concert in St. Petersburg and I came, stayed with him for a weekend and we hang out. It was a great experience. What I like about being a musician are exactly those stories. My approach to live is the same I have with recording in the studio. I have a setup that is limited but also give me a lot of freedom. Before a concert I practice with my recent setup and develop a certain language with it.
Ritual question. What are the best releases you recently appreciated?
I must say I don’t listen to so much new releases. I even don’t listen so much to ambient music these days. But the ones I just discovered where Dust by Daniel Pioro. This is a special one because it was created in the Greenhouse Studios during my internship there and I was one of the first who could listen to it. Then I like the releases that just came out on Octatonic Records the new label by Jonny Greenwood.