Back then, we couldn’t get enough of Kinetic Theory, it was easily one of our favorite tracks of the year. Now, Martin Rott is back with Part II. Check out our interview below to hear all about it!
Great to have you back after six years! Back then, Kinetic Theory was an absolute favorite of ours (and honestly, it still IS). Kinetic Theory (pt. II), can you tell us the story of how this new track came to life?
Similar to pt.1 I had this piano going and was messing around with odd-time in it and thought, what if I just kept it going through an entire track, against the beat, no matter what? Like cycling or running to a song matching the energy but never actually in sync… The Strings on top then tell a story, taking pauses, as if you are catching breath in between your sentences.
You mentioned that Kinetic Theory (pt. II) was inspired by your son’s terrifyingly fast night bike rides through Berlin. How do you translate the physical adrenaline and danger of those rides into the increased (compared to part I) tempo?
Pt. II contains more madness for sure, trying to figure out why things are the way they are, re-living these experiences from a younger perspective, converting them into motion. I’ve gotten more mad and more clueless at the same time, I needed a tempo to take that on.
Artists and people that have influenced you?
Hopkins, Frahm, Kiasmos, Bonobo but then Baths (big time) and on the other hand Newman, Britell, Son Lux, Bon Iver, all the great soundy stuff
Your favorite most trippy piano centric groove drop you wish you had composed yourself?
Tbh I don’t know to many piano centric groove drops, but hopkins certainly has stuff that is just beyond. If you listen to other productions and scores I composed you’ll hear Britells Agape is one of the tunes I wished where mine 😉
If the music of Martin Rott was a film, which film would that be?
Maybe a road movie about progress and character change.
With your background working alongside big acts and scoring feature films, how does composing for visual media influence the way you build narrative tension in your solo work?
I try to let go of most functionalities and try to my gut feeling and personal taste working on my solo stuff, but a part of the horizontal storytelling will always shine through because I’m just not a techno/trance and loop guy. Also I will always find a visual narrative to the music, even if it was composed without it in the first place.
In which place or state of mind do you imagine people might listen to your music?
Travelling, maybe sports for some go the tracks or just being in their heads, wandering off to fantastic places.
Should we expect Kinetic Theory pt III in the future?
I don’t know tbh, It just felt fitting in the moment to call it this one pt. II, would you like to have a part III sometime? Why not actually.
What does success mean for you going forward?
Having People hear and enjoy my Art. Having my Art meaning something in their lives.
Thank you!
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