Kill Memory Crash on performing with M-Audio gear:
“On stage, we like to keep it simple and functional. Basically our set-up consists of two small stations. There are two laptops running Ableton Live, with one of them (controlling most of the music) wired to a Trigger Finger, UC-33e, and an MK-461C. The routing is idiot-savvy, with all three MIDI controllers hooked up to a port replicator on the laptop. The Trigger Finger pads are used to trigger live percussion samples from a plug-in in Ableton Live, and the knobs and sliders are used to manipulate drum effects pertaining to those samples.
“The UC-33e acts as the effects command station. The sliders and knobs are used to control various effects parameters, such as phaser/flanger mix, delay time, EQs and various other things that allow you to seriously manipulate the track. Last but not least, the MK-461C is used much like the Trigger Finger—to trigger various freehand sounds and samples. Another laptop also running Ableton Live (mainly used for vocal processing) is wired to an Oxygen8, which is used to manipulate vocal effects and trigger freehand samples.”
Kill Memory Crash on making music:
“There are basically two ways we go about creating a song. First, one of us will come up with an idea (a basic melody, beat and a few other noises) and record this using Ableton Live. That person will give the track parts and the Ableton Live file to the other via e-mail or CD, so they can add new sounds, rhythms and beats. This swap will happen a few more times with the composition of the track slowly manifesting during the trading process. This process allows us to be creatively free with the sounds, while the composition arises quite naturally.
“We have another method of making tracks that starts quite like the other process, with one of us doing most of the work and ‘art directing,’ while the other offers advice and supporting sounds. This has a more conceptual outcome. The dichotomy of these two methods allows us to be simultaneously disciplined and playful in the music-making process. Without laptops and programs like Ableton Live, we would never be able to pull this off.
“We are currently using all of the M-Audio gear mentioned in our studio. It serves the same exact functions in the studio as it does live. That's what's great about all of these controllers used in conjunction with Ableton; you just grab a knob and tweak! We freely assign and reassign knobs in the studio on the fly without even keeping track. When we need a knob, slider, or button, we just hit the MIDI Learn button in Ableton and grab the nearest controller. We're quite impatient that way.”
On how M-Audio saved the day:
“We were on the last leg of our American tour with Kero (Shitkatapult, BPitch Control) promoting the release of our full-length album. We were using a rental car for transportation and arrived in NYC to play a show. Upon parking, we put most of our gear in the trunk of the car and went to the promoter's place to have some drinks. After a couple hours, it was time to go get our gear and head to the gig. We arrived at the car laughing, joking and ready to do what we where there to do. But as we opened the trunk to the car, the laughing stopped. Our jaws dropped in horror as we realized that it was empty—our gear wasn't there! No one said anything for what seemed like an eternity but was actually about 60 seconds. Due to our lack of sleep, sobriety, and overall handle on things, we all stood there trying to figure out if we had taken the equipment inside, or stashed it somewhere else. No luck, our gear was indeed gone...we had been jacked! Total cost of the blunder: about $3000.
“That night, and for the rest of the tour, we ended up just doing a DJ set utilizing vinyl, a laptop, and an Oxygen8 that I borrowed from Todd Sines. We arrived home with almost no gear, and not much money left. Sam Valenti at Ghostly was kind enough to help us out with a donation to get our studio going again.
“A week or two later, we ran into our friend Charlie Cooper from Telefon Tel Aviv (who was already endorsed by M-Audio). He told us that they were looking for someone to play a show in Chicago. Knowing that we still lacked the proper gear to do much of anything, Charlie recommended we play the show with the hopes of getting some gear in return and hooking up with a fun company. Well, we did just that. We played the show, hooked up with M-Audio and were able to replenish our studios in time to begin work on our new full-length album. Maybe this sounds like a commercial, but without M-Audio, I don't know where we would be right now. Probably behind schedule to say the least.”
What makes Kill Memory Crash proud:
“Releasing a full-length record and seeing it distributed throughout the world is definitely a milestone for us. It has allowed us to travel to many new places and meet the people that have been affected by our music. We only hope that we can continue to meet and reach audiences that are into what we are creating.”
Kill Memory Crash on upcoming projects:
We’ve recently finished a number of remixes, and we’re working on a series of EPs for Ghostly that will showcase varied interpretations of modern dance music genres. We’re also sorting out our next LP, which we’ve been working on for the past 6 months. All of the M-Audio gear that we use live is being used to create the album we are working on. In fact, the entire record is being made on our M-Audio monitors!”
Kill Memory Crash
Kill Memory Crash
Base of Operations:
Alex SanFaçon and Adam Killing
Selected Artist Credits:
Record Label: Ghostly International
Emerging from the mid-90s Detroit rave scene, Kill Memory Crash brings their hard-nosed hybrid of techno, industrial, rock, and electro to Chicago and beyond. 2005 saw the release of their first full-length effort entitled American Automatic, the follow-up to the acclaimed 2003 EP, When the Blood Turns Black. Kill Memory Crash's music has received praise from both the public and music industry alike with radio play in over 10 countries including the US, Japan, England, Germany and Canada. Their "American Automatic" LP received 4.5 out of 5 stars from the All Music Guide and held a top 10 position on CMJ's RPM chart for three weeks. Kill Memory Crash has remixed renowned musical artists such as experimental beat poet Saul Williams and the legendary industrial band Chemlab. Various tracks from Kill Memory Crash's catalog have been licensed to CBS's CSI Miami, several seasons of MTV's Real World and nationally aired sporting events. In between studio sessions, Kill Memory Crash regularly tours the US; bringing their sonic assault to major music festivals like SXSW, Miami's Winter Music Conference, CMJ, Seattle's Decibel Festival and of course Detroit's Electronic Music Festival.
- When the Blood Turns Black, 2003
- Never Forget/Technasty Rmx, 2004
- Crash V8, 2005
- American Automatic, 2005
- The O, 2005
Kill Memory Crash on performing with M-Audio gear: