Voiteck Andersen is basically the shit. Yep, he is it. Apart from his mind blowing live excursions he also cuts it big time on record, and recently on his new CD, Live At Your Mama's, a live collection of works recorded at various parties Voiteck has graced, including Every Picture Tells A Story and Trance Pacific Express, which has sold out on its first pressing. Thankfully for all of you who havn't got it already, its being repressed and there is yet more Voiteck recorded material to come. The boy who moved to Melbourne at the age of 11 unable to speak a word of English from the heavily industrialised and bleak surrounds of Poland is certainly kicking goals. Apart from blowing away the club scene, he has played the Big Day Out, Apollo, Push Over, Earthcore and Vibes On A Summer Day. If the names Aphex Twin, Jeff Mills, Derrick May, Stacey Pullen, Carl Cox and Luke Slater mean anything to you, then you'll be pleased to know that One V. Andersen has graced Australian stages alongside them as well. Yet now he speaks, and the tapes rollin', lookin' for the one they call Voiteck.
"Basically I was introduced to drum machines through my friends, and started stuffing around with them. After I had beats happening I started looking for basslines and so forth. Just started producing tracks, started playing them to people, getting some feedback, and kicked it off from there. I didn't really plan to make tracks or release records, I just wanted to make beats, especially because I was influenced by hip hop from the age of 13, and beats are one of the main features of hip hop."
Hip Hop and don't you dare stop
"I suppose hip hop was the thing that made me aware of my passion for music, it introduced me to music. Hip hop records were the first genre of music that I started following and started investigating more and finding out about the history of it and how it was made and the culture. The DJ side, the lyrical side, the grafitti side of it and basically the life of hip hop and lot of those ethics are still in my music these days."
"Actually I started MC-ing way before I started producing music. MC-ing is the simplest way of getting into it, I just started writing lyrics and I got other people to produce and that introduced me to samplers and stuff initially, and just the use of breaks and loops to form hip hop tracks. Smapling horns and stabs and stuff, really simple stuff that introduced me to the studio side of things, and I was introduced to the electronic side of things which gave me a bit of knowledge and sort of introduced me for the future."
Keep On Truckin'
"I basically was forced to start Truck to support my musical output, my creative output. I was recording so much, I actually thought my music was pretty creative and I wanted to push it further. I really wanted to release it but had real trouble overseas with no profile so I had to follwo it up with Truck music, which is mostly dedicated to driving rythmns, pure driving rythmns. So far the feedback has been really good for live at your mamas, we've managed to sell the first lot, and its been repressed, which I've been really happy with."
"I just create things spontaneously and improvise and built on things in the studio. In terms of playing live its a bit different in terms that I feed of the audience and the energy that comes off them produces my outcomes or the next decision I make. I don't like to compromise too much so I like to represent what I'm about and feed back off the energy that the crowd is responding. In the studio I am following a more personal direction, more a direction of the Truck, where I want myself to go as an artists and where I want my label to go."
!! LIVE !!
" Playing live is definately something I really enjoy. I did it heaps at home, by using a lot of analog gear and running in real time, real kno