An Interview with Drex Rekker

drex-rekker-pic-1.jpgFirst we had to go down into the subterranian Phoenix sewage system. Then we had to fight off countless pre-teen deformed karate tortoises and an army of rabid mooserats. Finally, we had arrived at the lost Phoenix underground hospital for the clinically insane. Head surgeon, Drex Rekker, was waiting for us just beyond the entrance hatch. Sup, bra?

Drex Rekker: It’s late, I forgot to take my Chantix today, I’m supposed to be finishing a Tracky Birthday remix, I didn’t eat enough, I can’t stop listening to these dubstep mixes, nobody’s home, I need to do my laundry, I wish I was at a beach, and I don’t have a job.

Spoo: What do you want?

DR: A pair of fantastic running shoes, a laptop, better whiter lightbulb designs, a job, the reformation of Pangea, a bedroom door, a closet, Siberian Husky, stacks of fill-in-the-blank airplane tickets, fresh juices, a racecar with air conditioning, affordable space travel, affordable health care, peace in the Middle East, non-toxic easily cleanable colored bubbles, drum sequencing skills, a waterslide, and a USB rice cooker.

Spoo: What’s your music about?

DR: It’s about maxing out the potential for music to make you smile… Make you smile so hard it hurts and you explode; like when you’re getting tickled and the assailant is giving you the “Say Uncle”, and your sides start to hurt, then burn, you can’t open your eyes, speak, the flames of hell appear in your eyelids, you can’t feel your lower extremities, your nervous system shuts down, no, just kidding. It’s about absolutely refusing to believe that anything crappy exists and just going nuts.

Spoo: You have been known to perform vivisection on stuffed animals. What is next on the agenda?

DR: Have the animals perform a vivisection on me, hand my guts out to the crowd as a “bonus” and then finish my set. Rather than me trying to find animal samples, they could simply sample themselves, then make the record that I’m undoubtedly less technically qualified to make than wild ducks and monkeys. They would likely make more tracks than I do as well.

Spoo: What are your favorite samples and sounds?

DR: Marimbas, glockenspiels, harpsichords, house drums, woodsticks, cows, dogs, birds, dolphins, bubbling sounds, electro bass hits, smacking my desk, Terminal11’s homemade claps, steven tyler saying “Cheesecake”, house drums, scratchy sounds, cartoon samples, takako minekawa singing, dubstep bass, clocks, farts, people speaking hebrew, groundhogs, the plastic tubes that make the wooooosh noise when spun around, ice cream trucks, matches being lit, paper tearing, really good whistlers, yodeling, Pansori vocals, trashcan lids, coins falling on a Casio SK-1 speaker, kittens, and sodas falling out of soda machines.

Spoo: What kind of music do you listen to?

DR: 60’s orchestral pop music and space ‘lounge’ music, rat pack crooner music, most everything on Phthalo Records, klezmer, yiddish folk music, Catskill resorts vaudevillian Jewish kitsch, Sonic Youth, cockrockdisco records, 50’s and 60’s soul music (Motown and Stax stuff), silly microhouse, Beige and all his projects, Cylob, Wu-Tang clan sideprojects, French kiddie-electronic goof off music, Miami booty bass, Proptronix records, Carl Stalling, Henry Mancini scores, old Bollywood soundtracks, German rap, The Persuasions, Yma Sumac and Esquivel kind of stuff, acid Techno, Otto Von Schirach, Korean Pansori theater music, classic Disney soundtracks, 60’s Brazilian pop music, ragga, backpacker hip-hoppers with senses of humor, Missy Elliot, 50’s vocal jazz, northern soul, Peggy Lee type stuff, and dubstep

Spoo: Who is James Brown?

DR: The godfather of “BLEARGBEHGARHRAH”. The grandmother of making gut wrenchingly bizarre and slightly discomforting aural guttural discharge into an art form that caused women in the 1950’s and 1960’s to lose their underwear. The undisputed blue ribbon winner of the international sweating competition. Actually that was Wilson Pickett, who I believed died from drowning in a tidal wave of his own sweat backstage in Manila. I believe James Brown may also be the proprietor of a fantastic line of barbecue sauces. The hardest working man in show-business, my mentor and estranged father, a man with a bad case of pinched leg nerves, a legend. Please go get “Live @ The Apollo 1963.”

Spoo: What do you think is next as far as the future of music?

DR: I’d like to think positively and say that it’s some kind of interactive music hat with electrokinetic Q-Tips that go in your ears to pull the music out of everyone’s heads and send it to a software interface to mix, sequence, tune, and master… But realistically, I think music is eventually going to be produced by a monolithic computer that configures tracks based on sellability and mass appeal… I think that’s roughly what’s happening now, but I think eventually, they’ll also be able to completely eliminate celebrities and their gabrillion dollar salaries, paying only electric bills for the machine. I don’t know though? I also hope that someone hires all the engineers at BlueMoon to finish making Sound Club. Or that there’s a major textile breakthrough allowing the manufacture of really, really, really cheap woodwinds, marimbas, or harpsichords.

Spoo: Which artists would you like to collaborate with?

DR: Libythth, Cylob, Dat Politics, Rip-Off Artist, DJ Assault, Gangpol und Mit, Safety Scissors, Senor Coconut, Otto Von Schirach, Terminal11, Soft Pink Truth, Secret Mommy, Global Goon, Dim Dim, Beige, Daedelus, About, Akufen, End, Blectum from Blechdom, Bogdan Raczynski, Exillon, Mochipet, Jean Jacques-Perrey, Ilkae, Milky Chu, Com.a, Herbert, Jacques Lu Cont, The Barry Sisters, Shoshana Damari, Nina Hagen, James Brown, Peggy Lee, Marvin Gaye, Esquivel, and Sam Cooke. Preferably all at once. Some of them are dead though.

Spoo: Do you plan the songs that you write?

DR: I can’t seem to get past the 4 second mark lately, so my new technique is to string together about 15 4 seconds loops and force myself to write seamless transitions between them, resulting in songs. When I’m not doing that, there’s no plan that happens before I start writing, but I do like to keep incredibly disorganized, incomprehensible handwritten notes while I’m working, usually on typing paper in a couple different colors of pen. I don’t like repetition in my own tracks, so I do my best to never repeat more than 4 bars unless there is a long, long dynamic melody over whatever is repeating, and I try to make sure that if you were to skip through the track, you wouldn’t be able to tell if it’s the same song. I fail quite often. When I write a melody, that’s the only thing I can hear in my head that I then plot, but usually only 6-10 notes ahead. My first wish for a genie would be drum-sequencing skills. My drums eat a bowl o’ dicks.

Spoo: What’s next?

DR: Erase my entire harddrive and start over.

Just then, Drex Rekker brandished his scalpel and we got the hell out of there. Thanks for the sweet interview, Drex!

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