Kruder & Dorfmeister's story is not just a story of rejection. When the two made music together in the early 1990s, they did a lot of things "wrong" and therefore exactly right. Vienna was then a metropolis of the emerging techno movement, but K&D followed more in the tradition of the continental cosmic "dancefloor" of the 1980s, influenced by hip-hop, rare groove, dub and new wave.
With their groundbreaking debut "G-Stoned", they were one step ahead of the first post-acid jazz productions by labels such as Ninja Tune or Mo Wax. Many top producers wondered how they could create such an organically flowing, complex yet subtle sound with just two Akai samplers, a Roland Space Delay and a dusty mixer.
After the success of their "DJ Kicks" and "Sessions" CDs, which sold millions worldwide, they turned down most offers. Instead, they supported musician friends with their G-Stone label and worked on follow-up projects such as Dorfmeister & Huber's Tosca and Kruder's Peace Orchestra.
Anyone who heard them play back then realized that the cliché of smoky time-loop jazz was long behind them. Drum & bass and sub-genres such as broken beat and straight 4/4 rhythms found their way into their sets.
To this day, the two maintain an open concept, influenced by a broad musical taste and their ability to listen, feel and realize their musical ideas. Their career can be compared to that of Brian Eno, whose work was characterized by an all-encompassing, visionary and never short-sighted view of music.
From the very beginning, the aim was to produce a very personal sound in which adherence to genre guidelines was of secondary importance. Peter Kruder proved this with his productions for DJ Hell and Marsmobil as well as his own releases. Dorfmeister's Tosca also shows this direction in minimalist, almost Dadaist sound studies.
The two are happiest when their music and DJ sets are understood as an ode to hearing, feeling and perceiving music and sound language, which, like body language, is universal, global and unifying.
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