Q&A: Christoph Andersson

Southern teen producers rarely aspire to become electronic stars; however, a New Orleans native seems poised to do so, with his own special brand of pop sensibility. Christoph Andersson turned 19 a little over a month ago, but the DJ and producer already has managed to start his own record label, share stage space with the likes of Hot Chip and Crookers at Voodoo Festival, grown his monthly TKVR parties to 500-plus ragers in a little over year, and release a set of tracks and EPs over the course of the new year. A skilled architect of consistently catchy, beat-driven melodies, Andersson’s talent will no doubt continue to keep him in attendance at parties where he will not be able to legally drink for some time to come, but his status as an outsider is perhaps his greatest weapon. Alien to the music scene at large, oblivious to most of what makes New Orleans music famous and entirely wise beyond his years, it’s safe to say the gracious young man is one to watch. FILTER had a chance to catch up with the young Andersson and talk about his hometown, new label and the future to come.  We can only think there will be more to say soon.

Your label is fairly new, and you just turned 19! How did it all get started?

My family’s German, but I grew up in New Orleans, on Hurst Street. I attended NOCCA (New Orleans Center for Creative Arts) for audio production. I did regular classes in the morning, but recorded music all afternoon for all four years.  I owe everything to that. I wouldn’t be anywhere had it not been for the school. The label is called Hurst Recordings, which has been going strong for three or four months now. We staggered the release of my new tracks, rather than just putting out an EP. We figured it would just be more interesting that way. After this third release, which is a three-track EP called Metropol¸ there will be another in mid-February.

Do you think that producing electronic music in a city otherwise known for everything but electronic music has been helpful?

Living here has had a huge effect on my music. Not being around other electronic musicians or a huge scene has benefitted me. I don’t really have to be aware of what other people are doing, and I can just make whatever I want to hear. I think that makes my music stand out. I don’t think I’d do very well in a place like New York or L.A., quite frankly. I doubt I’m even cool enough [laughs].

But you certainly must have been affected by native sounds there regardless…

I really don’t listen to jazz, or whatever, or much that comes from New Orleans.  I do listen to Terence Blanchard, however, as he lives a block away from me. He’s an incredible musician and composer. The influences are largely subconscious, like the funky basslines and whatnot. Because I’ve lived around it, it’s sort of what I spit out. There are always subtle references to The Meters or The Neville Brothers, but I won’t even get [them] until my dad points that out. New Orleans music is just how I grew up.

Your sound is a bit of many different influences. What would you call what you produce, and by whom is it influenced?

All my influences come from non-electronic acts. New Romantic/Wave stuff from back then, like Japan and Tears For Fears.  Mix that with some sort of Daft Punk-esque production, and I guess that’s where I would say I’m coming from. A lot of people call my sound Disco House, but I don’t think that does it absolute justice. I think there is more pop sensibility behind it. We’ve been branding it as Neo-Disco, just because we don’t really have anything else to call it. I like the fact that I can’t really put my finger on it. All my tracks just have that melodic, Christoph Andersson thing going on!     F