Kalimo

We spoke with Kalimo about his systems when producing a track, producers needing to DJ to make a living alongside making music and why he’s excited to join Outboard.

Kalimo is a producer and record collector based in London. His mixes and productions draw from ambient, meditative textures, with the concept of flow being a consistent theme alongside movement and rhythm.

“Music is a daily companion that focuses my actions but provides a peacefulness and calm at the same time. I try to capture that calmness and movement in my mixes, sets and music - nothing is overly planned.”

With a healthy collection of unreleased music, the future looks bright for this understated character.

Do you have a ritual when composing music and how do you stay inspired after all these years?

I don’t have any solid rituals when I make stuff, but over the years I’ve had to build guide rails and systems that help me through different parts of the making process. For example, I have different systems for when I’m in “sketch mode” vs when I’m really trying to push something to a certain level of development. In sketch mode it’s all about working fast and capturing the mood. But in “engineering mode” – if I can call it that – it’s a bit more structured.

It sounds a bit silly and constraining, but I’m a sucker for checklists. They’re a tool that’s saved me from getting lost during different parts of the process, especially during the mixing and engineering stage.

When producing, are you more in the box or do you use Outboard gear too? Could you share with us a single unit or tool that is a true game changer for you, and why?

I’m sure I’ll lose a lot of street cred for saying this, but I’m predominantly in the box. I know what textures I like, and I’ve found makeshift ways of achieving them. 

I’ve heard stuff that’s made with hardware that sounds great, and I’ve heard stuff made with hardware that sounds “sterile”. On the flipside, and I’ve heard stuff that’s made with a mixture of both software and hardware and sounds great too. So it’s really what you can get out of your tools. 

I’ve had a Waldorf Blofeld for a number of years now and it’s been a game-changer. Super lush sounds for deep floaty atmospheres. I’d like to keep my setup as minimal as possible but I’ve got one or two items on my list for the next few months.

How do you feel about music producers having to DJ in order to bring in an income? What would you need to be fully dedicated to music production? Do you think it’s still possible to make a living strictly from production?

I’ve let go of any strong opinions on producers having to DJ to make an income - it’s just how it is, certainly in our corner of the scene.. and there are definitely worse ways to make a living..

I do think most producers enjoy the process of DJ’ing or performing live. The only concern I have is sometimes it feels a bit precarious as a sole source of income. A lot of people have to be creative in coming up with multiple sources of income until they reach a certain level of collective recognition from the scene.

"For most artists it’s clearly not enough just to make great music (sadly!). You’re in a situation where you have to market and perfect your online image if you wanna build a community.."

The common  saying “Starving Artist”, describes the all too common path of artists and their lack of commercial success.  Yet, millions of new artists emerge every year, hoping to make a living from their art. In your opinion, is art compatible with money? How do you stay authentic in your music when your livelihood depends on it?

I’d find it quite challenging to stay authentic if music was my sole source of income: You’ve got to make a lot of “content” to stay visible - music, marketing, social media etc, and [2] You have to have a really good sense of what your audience likes. 

For most artists it’s clearly not enough just to make great music (sadly!). You’re in a situation where you have to market and perfect your online image if you wanna build a community. Of course there are exceptions to everything, but that’s what I’m seeing at the moment.

"I think any platform that brings artists closer to their audiences is an important thing, both artistically and monetarily. "

At Outboard, our aim is to establish a new way of remunerating music producers, fairly and transparently. Why did you choose to entrust us?

I think any platform that brings artists closer to their audiences is an important thing, both artistically and monetarily. I’m pretty excited about how Outboard evolves, and definitely the upcoming releases!

Check his track "Compromise" on OTBD003