Hot off the release of “The Last Album“, Fritz von Runte displayed his creativity with new and exciting sounds. One EDM interviewed Fritz von Runte on music, his hobbies and life in general.
Manav Pallan: What inspired you to make “The Last Album”?
Fritz von Runte: Surpassing my father in age. He died at 43, and I was 43 whilst making the album. I’ve always thought about how life can end anytime, and if I died soon, what music would I’ve like to have done that I haven’t yet made. That was the concept for The Last Album. What would be my musical bucket list?
How did you first get into music?
I don’t remember life without music. My childhood involved going to friends’ houses to listen to records they had and I didn’t, and to make tapes and recordings. When I would go to relatives’ houses, I’d be found in their living rooms on the floor, browsing their collection. Everyone had records back then. At a certain point, year 5 or 6, I had 3 different musical classes — music theory, band practice and “dancing” which was about bringing records and dancing to them. I don’t remember anything I learnt that year apart from music. I was the only one bringing music every week and I’d play the records others would bring too. Naturally I became a DJ, and, from editing music to start making it, was a natural progression that I’ve never questioned or noticed. By 18, I was making decent money DJing and I got some gear to start making my own tunes. At 20, my first record was being played on the radio.
Who is your biggest musical inspiration?
If I had to choose a person it would be Alfred Hitchcock. There’s something about his pace, dialogue and crescendo that have always been inspiring musically to me. My call and responses are very Hitchcockian. I also like the suspense, the anticipation of the big musical idea. My New Order Music Remixed album has a lot of suspense. But I get inspiration from other people and places too, mainly visual arts. I like collage, modernism and Swiss graphic design. I find music and typography very similar, in their rules. Typographical rules are very much musical, and breaking them are like breaking musical rules. One must know them to break them.
What track are you most proud of on “The Last Album”?
There isn’t one. I’m proud of the whole album. I have favourites, but they’re changing each week. At the moment I’m re-listening to Musique Magique a lot as we’re releasing it as a single in January, and I am very happy with it.
Who are some of your favourite artists right now?
I’ve stopped listening to new music around January to dedicate myself 100% to the album. It doesn’t me no good to listen to others whilst working on music. But I love Moulinex, Cherryboy Function, Channel Tres and Beca, who is on the album’s first single Dance Party in the Living Room.
What is the biggest difference between the music industry when you started compared to 2020?
The biggest difference is that people valued music. There was an effort and cost involved in acquiring music, and that translated into care and attention. People would pay money for an album and that would make them listen to that record. They would read the liner notes, listen with intent. Now people hear of a band or an artist, they listen to their most streamed tune on Spotify for 15 seconds and skip if it doesn’t immediately satisfy them.
What was it like working with Graham Massey?
It was a pleasure as usual, no surprises. We’ve been sending mixes and remixes to each other for many years now. Graham and I have a lot of things in common, like our taste in ECM records and the attention to details.
What inspired you to produce a limited edition CD version of your album?
Because unlimited editions aren’t cool. Plus there’s no need for an unlimited edition as physical copies are not very popular any more. It’s just for those who know and collect really.
As 2020 is drawing to a close, what are your plans for next year?
To make music. But not in this format, as that was the last album.