Kruder & Dorfmeister

Kruder & Dorfmeister started making music together in the early 1990s. There was hardly anything that the two didn’t do “wrong” and, therefore, exactly right.

At the time, Vienna was a metropolis of the aspiring techno movement and was active, during the initial heyday of the revolutionary style. But the two followed the tradition of the continental cosmic “dancefloor” of the 1980s, which searched for a universal language of dance music, influenced by hip hop, rare groove, dub, new wave and last but not least, of music that stood out between all those categories.

K&D always enjoyed not following advice and abandoned all of the enticing major offers, all of the promises of full-speed marketing machinery. Instead, they provided musician friends with distribution on their G-Stone label, hung out in the studio and put together follow-up projects, like Dorfmeister & Huber’s Tosca or Kruder’s Peace Orchestra.

To this day the two still maintain an open concept, influenced by a wide-ranging taste in music and their ability to hear music, to feel and to be able to realize their musical conceptions. Kruder & Dorfmeister’s career can be more closely compared to that of major role model, Brian Eno, whose work, from Roxy Music or “My Life in the Bush of Ghosts”, to his productions with David Bowie and his “Music for Airports”, was similarly influenced by an all-embodying, perpetually visionary and never shortsighted understanding of music.

The two are happiest when people take their music and their DJ sets for what they are: odes to hearing, feeling, sensing music and tonal language, which does not function like the many spoken languages of the world, but rather as body language: universal, global, unifying.