KLOUD: “My Goal Is Giving People Something Untouched by Trends or Outside Sources”

3 hours ago 4

Elusive techno visionary KLOUD dives into his artistic approach to crafting a cohesive brand, what shapes his live performances, and why anonymity is integral to the project.

Slipping through the crowd at his shows in plain clothes, anonymity serves as a superpower for techno producer KLOUD. After reinventing himself in 2023, he began a new chapter in his story. The shadowy, masked artist has created something that extends far beyond his project, fostering a community within his genre.

While his identity is a mystery, his sound is rooted in raw, intense techno with synthesized textures that lend themselves to explosive live moments. Every release displays authenticity as KLOUD’s productions are an extension of himself. Passive listeners become fervent fans, joining THE KLOUD and becoming part of his encompassing, ever-evolving world.

KLOUD’s vast knowledge within electronic music has contributed to his success thus far, as he continues to push boundaries with his unique approach to the project. While much about this artist remains a mystery, the enigmatic artist fills in the blanks on the transition from his previous sound, crafting a set made entirely of his own productions, and what’s next for the project.

Stream KLOUD – “AIR FROM ABOVE” on Spotify:

Many listeners first found you through your releases, now known as GEN.KLOUD. What inspired the shift to producing techno?

I would actually say many of my newer fans at this moment don’t know about GEN.KLOUD. I’ve gained over 50,000 followers on Instagram since that era of the project, since it’s been such a long time at this point. To answer your question, GEN.KLOUD, originally known as KLOUD, was the initial brand conception and actually a joint effort between my late manager, Andre Benz, and me.

The point of the project was to be brand-forward, cinematic, and visually appealing. The music would follow whatever path I chose. Clouds are ever-changing, KLOUD is too. The name changed simply because the old outfit and old sound were getting in the way of the new vision I had.

When COVID hit, I felt tired of creating slower music and saw a shift in the music space leaning towards techno before it hit the US. I’ve been producing for over 20 years, and techno was one of the first styles I had ever played with. It felt like a good moment to bring it back.

I started doing full techno live sets during the COVID era, consisting only of my own music. It was a fun moment for me because I was doing what I set out to do since the conception of the brand: whatever I wanted. KLOUD was, and still is, never supposed to be confined to a specific sound. I’m already thinking about what, and where, KLOUD can go next.

Your sets are 100% comprised of your own creations. How does this approach allow you to create a more immersive experience for fans?

I think it’s a double-edged sword. You either hate it or love it. I only play my own records, and if you’re looking to go out and hear records you’ve heard in every other DJ’s set, you’ll be upset. But if you’re looking for something new, something straight from my mind and heart, and something you may never hear again unless you see me, then you’re in for a treat.

I don’t do this because I think I’m better than everyone else. There’s a lot of amazing music and artists out there, but I am an artist, not a DJ. I am giving you a piece of me when you come to see my set. I’ve created hours of music that I can put together in infinite ways and create an environment that can’t be replicated by anyone else.

Beyond producing music, you edit and create all the visuals for the project. Did you always set out to have full creative control over the project’s live performances?

Always. This project is a culmination of all the talents I’ve garnered over my decades of working in music. From the music itself to the videos and visuals to the combination of them all together.

I think the world is becoming homogenized at a faster rate than ever before, and my goal is to give people something untouched by trends or outside sources. This doesn’t mean I’m not inspired by external factors — of course I am. But what I do is take my inspirations and morph them into my representation of it.

Due to your anonymity, you’ve been able to position KLOUD as more of a collective than a singular artist. How does this benefit the culture and community you’re aiming to build?

WE ARE KLOUD. The point of the KLOUD project is to portray a character that everyone can see themself as. I do not want to be idolized; I do not want people to know what I do offstage, not purely because of anonymity, but because it dilutes the positivity of the brand and music.

When we are all together in a room, I am the MC, and we are in an energetic environment together. It’s about the primal and raw feeling of being human, without all the external noise that society has put on us.

You’re currently wrapping up a run of US shows. What tracks do you feel are really resonating with the crowds here in the States?

My records “DEFECT,” “BLACK,” and “FAKE” are always staples in my set. They give a mood that works 100% of the time. But beyond that, it’s not about any specific records. The way I’m mixing each record into the next is creating a transitional moment that can’t, or isn’t, replicated outside of my sets.

It’s a moment you experience only at my shows — or in a recorded set. Because of the way I play, my sets are a special moment in time that I believe is only experienced when you’re at the show.

You’ve stated that techno is about the journey in between all the records — that each set becomes a painting, with each track serving as a color. How does this ideology influence how you build out your performances?

I play 100% improv. I have an intro record, which is my theme to start the show, and from there, I pick the record I am feeling most with the crowd. Sometimes I build it slowly, sometimes I get into the thick of it sooner, but the tracks are there at my disposal, and I never know which order I’ll play them in.

This keeps it interesting for me, and for someone who may have seen me five times already. The magic is in the mix. The mixing of records you may have heard before, but now the main elements are on top of another record, and it’s creating a unique combination found only in my set.

In a time where many artists are chasing viral moments, you’ve taken a different approach. What drives your creative process when working on new music?

Good question, because I don’t know the answer. I write records that come from my heart and hope they fit my sets.

At this moment, I have produced so many faster 155bpm techno tracks that I think it’s time to start experimenting with alternative styles of techno to create new environments and moods for my sets — whether I’m playing an ALL NIGHT or rooms that don’t want such an aggressively fast style.

It’s something I’ve been thinking about for the past year and will start experimenting with this summer. I don’t chase trends, I chase what I’m feeling.

Your most recent release is “AIR FROM ABOVE,” which dropped in January. Can we expect any more singles from you before the year ends?

Yes, I’m already finalizing the submissions for an EP with a label I cannot announce yet, but I’ll be excited to share as it comes.

Reflecting on your journey with the KLOUD project, what’s something you’ve learned about yourself that’s been instrumental to your success?

Determination, dedication, and consistency. This is what builds a long-term music career.