RNDM is the work of Oliver Kargl, an integral part of Hamburg’s esteemed Dial and Laid label family. To date he’s release just three excellent records; the sumptuous and sensual house of ‘Third Hand Smoke‘ and ‘Hideaway Lane‘ for Laid, and a remarkably adventurous & freewheeling split EP wih Juergen Junker on Efdemin’s Naïf.
It is with great pride that we present RNDM’s exclusive mix, featuring a panoply of choice cuts from the likes of Lawrence, DJ QU, Smallpeople, Jichael Mackson, Soulphiction and Marcellus Pittman. It’s fair to say the IA team are already hammering it, so we sincerely hope you enjoy it too.
Can you please introduce yourself, where are you from and what were your ambitions when you were a kid?
My Name is Oliver D. Kargl, I was born in Salzburg, Austria. As a little kid I was an alter boy, which led to me wanting to be a bishop. When I was about 12 I changed my mind and my ambitions lay more in the direction of becoming a professional skate boarder and the front man of a punk rock band. Obviously neither of these worked out so I ended up as a DJ.
Where did your passion for music come from? When was it when you began experimenting with making music?
I think I developed, maybe not the passion so early, but an awareness of music as a kid. There was always a lot of music in the house. My Father had a lot of classical records. He was always listening to them really loud after work. And my Mum, she had her own diverse record collection. So there were always records around, my own too as a kid. I started collecting records when I was pretty young and since then I’ve been hooked. I’d say my passion for vinyl lead to my appreciation and interest in music.
Experimenting with music… well I’d say that started quite late. After I’d been DJing for a couple of years I started fooling around with all kinds of software and equipment.
Was there a defining moment when you realized music was much more than a hobby to you?
Technically I guess you could say it stopped being a hobby when I started living from it but actually it never happened.
How important is Vienna to you, do you feel that it has been integral to your music and aesthetic?
Since my father is a Viennese gentleman, we used to visit my grandmother in Vienna all the time when I was growing up and I lived there for 10 years whilst I was studying, so I guess it’s an integral part of me.
When I first moved there, at the end of the 90’s, the experimental/electronic music scene was pretty interesting. Labels like Mego and Cheap and artists like Fennesz and Farmers Manual or DJ DSL were big influences. I was 20 back then.
At that time Flex Clud and drum n bass were pretty fun too. It was more of a social thing that I left in the moment; I don’t really draw on any of those times for inspiration when I’m making music.
To date you’ve released three EP’s, two on Laid and one on Naif. How do you choose between record labels?
To date all my releases have all been on labels that my friends run. I’m way too shy to send my stuff out to other people or their labels. So it makes choosing an easy process.
To me Dial and Laid are very much a family. How did you get involved with the whole operation?
Through friends. I got to know Phillip Sollmann whilst we were working together in Vienna. He’s old friends with Peter Kersten AKA Lawrence and Dave (who run Dial), and it just went from there.
How did you and Efdemin start working together and what circumstances led to you both to work under the moniker Pigon?
So as I just said we were working in Vienna, in the Kunsthalle (Art Gallery/Museum), just painting walls and moving art and stuff and he wanted to do an art project using the MUMOK (Museum of Modern Art) as a sound module and I said I’d do the video for it. That never happened. Instead we started making techno together.
Is there a need for Pigon? Do you have a specific goal behind this moniker and body of sound?
Absolutely not. Pigon is more like an ongoing experiment, it’s the platform for Phillip and I to kick back and freak out.
Collaborative projects expose you to an array of different elements and methods for producing music. What have you learnt from this collaboration project and has it influenced your current and forthcoming productions?
I could write a book about all the bakery’s, night shops and doner places around the studio. I learned a lot about cheap German food during this collaboration. It’s fun working on the Pigon stuff but it doesn’t influence my own work. The closest it gets is borrowing equipment from Phillip’s studio.
What does the medium of vinyl mean to you? Do you see it as a dying or timeless art form?
I’m too stupid for the modern stuff. I get nervous when playing with computers and to be honest I don’t like the sound of CDs or MP3s. Maybe I’m a bit old fashioned, but I like that.
What do you do to get away from it all?
I’m a pretty easygoing guy, so I never really feel like I get caught up in it at all in the first place.
Do you have further plans to release more records or remixes in the near future?
There’s a new Pigon EP coming out in May on Dial. I have a RNDM record coming out on Naif soon and a release lined up to come out on Dial later in 2011.
How important is visual art to you? What artist are you into at the moment?
I have a love/hate relationship to art but I always had a strong interest in it. I studied fine arts in Vienna and I got my Masters in it. However I’m not doing any exhibitions at the moment.
I really like the works of Blinky Palermo, Robert Gober, Urs Fischer, Martin Kippenberger, Fischly & Weiss and many more.
What have been your most defining moments in your career to date?
I think playing Cheap Friday Parties in Tel Aviv and the Trip to Jerusalem the next day were pretty memorableRNDMDialLaidNaïfDeep HouseMinimalTechno