Your SoundCloud page describes you as a “constantly progressing sound scape of gut-bucket funk”. That’s quite a unique term. What exactly is gut-bucket funk?
Gut-bucket funk is a term used by Flea when Red Hot Chili Peppers were here not too long ago. We like to imagine it’s got something to do with bumping fat funky basslines. It’s the essential ingredient to any Strike in Berlin music.
Why did you decide to participate in Converse’s Get Out of the Garage competition?
It’s our third year entering the competition, our first being the year Matthew Mole won Get Out of the Garage. We have seen the big leap forward it’s offered him in his career and we think we’re up to the challenge of taking it on. This competition is a great opportunity for young and unsigned musicians to get their music heard.
Making the top ten in the competition must be quite something. How did you feel when you heard the news?
We were both shocked. I had entered [us] a few weeks ago and just totally forgot about it. When I received the email I almost fell off my chair.
Did you celebrate in any way?
I wouldn’t call it celebrating but I did start working on our new EP frantically because I knew we’d have the opportunity to get a professionally recorded single produced with Rubber Tracks.
How was working with Rubber Tracks at the Openroom studios?
Working with Rubber Tracks was an experience we’ll never forget. It’s a real shift from the indie recordings we’re used to and a definite improvement from the Guitar Hero microphone we used to record our first EP. Converse gave us the opportunity to record with a producer who’s worked with the likes of Bono, Tiesto, Kimbra and James Murphy. Converse spoiled us and we appreciated every moment.
In what way do you feel Strike in Berlin stands out from the other competitors?
All the bands in this competition have a really good chance of winning and it’s inspiring to know that there’s so much variety in South Africa. But what sets us apart is our experimental, electronic, smile-invoking melodic charm, not to mention our addiction to bass.
You have a single and a music video called “Three hands”. The idea of having three hands is quite a different one and perhaps not one many have considered before. What triggered that thought?
It’s derived from the idea that making computer music is almost like having another hand in the music-making process because the computer has become a part of the band in an odd way. It led us to think about all the different things you could do with three hands and the song was born.
Do you have anything new in the pipeline?
We are currently working on our third EP Dancing in Your Living Room, which features two of the songs recorded at Rubber Tracks. We are also featuring Pretoria locals We Are Charlie and Hawkword as well as Johannesburg wonderboy Phosphene on the upcoming EP.
If you win the competition, do you have any fears going forward?
If we win this competition the only fear either of us will have is brushing up on our French for Paris and learning how to call a taxi in New York.
What future do you envision for Strike in Berlin?
I see a future where festival stages are turned into places of happiness and energy because of our addictive gut-bucket funk where every frown is turned upside down when people listen to our music, where everyone understands that bass, melody and rhythm are pivotal in the production of a smile.
Strike in Berlin’s music is avaliable on their SoundCloud page.
Image: Strike in Berlin’s Facebook page
