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Geared Up: Zkeletonz Discuss Sonic Sweet Spots and Complex Set-Ups

Quirky electronic crew Zkeletonz talk us through hitting that sonic sweet-spot using a (not-so) complex set-up…

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Zkeletonz
Zkeletonz, photo © Laura McGlaughlin

Electronic force of nature Zkeletonz have been carving out their singular path in the music industry in recent years, headlining their own self-promoted London gigs, tearing up festival stages at the likes of All Points East and Alex James’ Feastival, recording a live session for Scott Mills, and gaining love and support from across the industry.

Recently, the band dropped their new single “Lonely,” an uplifting, infectious, groovy banger that sparkles through a vibrant glitterball of revolving, kaleidoscopic bass-loaded electronics. The track locks the listener deep into the mind of Zkeletonz singer Gav, where he is “Researching on the other side of life,” wrestling with his digital spirit equivalents, who offer up paranoia, temptation and play.

In the latest edition of Geared Up, V13 sat down with Zkeletonz to dig into the set-up they use to create this kaleidoscope of glittery sounds.

First things first: what’s your current setup?

Zkeletonz: “OK, buckle up because it’s a little complex! Everything is powered by a Squarp Pyramid sequencer, which tells the bass, drums and (sometimes) synths what to do. We have an MFB Tanzbar and Elektron Digitakt for drum duties, a Moog Minitaur for bass and Moog Grandmother and Prophet Rev2 for synths. We also have a Fender Tele going through a Fender Princeton 68 amp. Most of these are fed through an Elektron Octatrack which works as a performance mixer; adding effects, transitions, builds and colour. That’s the simplified version. It sounds like a lot but really the net result is a really simple, classic set-up; it’s drums, bass, lead and vocals. Like every band since the beginning of time!”

What one piece of gear do you use to obtain your signature sound?

“I’d say that the ‘Moog sound’ is pretty key to the Zkeletonz signature vibe, supplied by the Minitaur and Grandmother. We always want to sound like a ‘real band’ even though we’re mostly electronic, and analog instruments with all their imperfections are the closest way to achieve that. We love Moog stuff because it sounds very musical; it’s easy to find sonic sweet spots.”

Zkeletonz Geared Up Photo

Zkeletonz Geared Up Photo

What made you choose this particular piece of gear and were there any close seconds or alternatives?

“In the case of the Grandmother, there are quite a few analog mono synths out there and I guess the Grandmother sits somewhere between the buttery smoothness of the Moog Sub37 and the spitting, screaming dual-filter insanity of the Korg MS-20. The fact that the Grandmother can go from one extreme to the other so effortlessly was a huge part of the appeal… and who doesn’t want to have their Grandmother screaming on stage with them?”

Did you use this gear during the recording of your latest song or album? If so, please elaborate on how and for what parts.

“We use almost entirely the same gear for recording as we do for live. That’s really important for us! We want the live experience to sound like the recording and vice-versa, so we make a principle of trying to keep the two as close to each other as possible. Those limitations force us to compose, arrange and produce better because every element has to work as hard as it can. Good composition performed on good-sounding instruments shouldn’t need embellishment.”

Zkeletonz “Lonely” Single Artwork

Zkeletonz “Lonely” Single Artwork

How does the piece of gear hold up with regular touring and gigging?

“Pretty well, to be honest! A lot of our gear is built and wired into a custom-made flight case (shout-out to Swan Flight, a UK-based company who made it!), and we use sturdy cases for everything else. If you’re careful enough and know how to store and move your kit well then touring doesn’t have to be super-tough on your gear.”

What’s a brand or bit of gear that you love that no one else seems to?

Teenage Engineering gets a lot of heat for being expensive, but the original OP-1 has been a stable of my studio for many years now and I adore it. I understand why it has it’s detractors – because of its design, there’s a perception that it’s more of a toy – but it’s surprisingly good at sound design and always offers weird and inspiring sounds. It’s the one piece of kit I’d take with me to a desert island!”

Zkeletonz Geared Up Photo

Zkeletonz Geared Up Photo

What’s your favourite piece of equipment you’ve ever owned?

“Probably the Korg EMX-1. I’ve owned it twice, sold it twice, and regretted it both times. It used to be a big part of the early Zkeletonz setup. It doesn’t sound amazing by today’s standards, but it’s unbelievably fun to play and perform with. It’s also built like a tank! I’m going to sound like an old man here, but… they don’t make ’em like that anymore! I might have to buy it a third (and final?) time…”

What brand do you usually lean towards when looking up new options?

“I’ll always be interested in anything Elektron are doing. I own quite a few of their devices. They’re the perfect compromise of everything you want from gear; they sound great, they’re well-built, and they usually have interesting or inspiring workflows. As I mentioned before, we have a Digitakt as part of our live setup, which I believe is a future classic in the making, on par with the old Akai MPCs. I speculate that generations to come will have fond memories of the first time they jammed on a Digitakt.”

Zkeletonz Geared Up Photo

Zkeletonz Geared Up Photo

What was your first-ever instrument?

“I still have a Fender Jagstang that I spent two summers mowing lawns to buy – it was my first guitar. I thought I was going to buy a Telecaster, but when I got to the shop the Jagstang just spoke to me! It’s not refined and classy like the Tele; it’s raw and scrappy and I guess something about that just appealed to teenage me. It’s an amazing instrument, and you don’t see too many around nowadays.”

What setup did you spend the most time idolizing as a kid growing up?

“I don’t think I really understood electronic set-ups like this when I was really young! But definitely, when I started to make electronic music, it was Soulwax‘s live setup that seemed to be the gold-standard for live electronic music. The way they integrated live instruments with sequenced electronics is still the blueprint for how we’ve developed the Zkeletonz live setup. Even though the set-up itself is complex, the result is really simple and effective.”

Zkeletonz Geared Up Photo

Zkeletonz Geared Up Photo

Destroying instruments on stage: yay or nay?

“Gotta be a nay on that one. You’re not Jimi Hendrix! I don’t know what there is left to ‘say’ by destroying instruments; that stuff was cool in amongst the excess and theatricality of the classic rock ‘n’ roll era, but now I just don’t think there’s anything meaningful points to be made. Maybe try something different? What if, instead, you built an instrument on-stage? Let’s see someone try that…”

What setup do you think serves musicians like you the most in the style of music you play?

“Interesting question! If you’re going to do our style of live electronic music, the thing you have to learn is how different electronic instruments can ‘talk to’ each other, whether it’s by MIDI, CV, routing audio etc. There are so many possibilities once you unlock that way of thinking, and it means you can achieve a lot with just three people on-stage. You don’t need to have tons and tons of equipment; you need a handful of good-sounding instruments that have been set-up thoughtfully. You could take the roof of an arena gig with only a Casio keyboard if you know how to get the best out of it.”

I have an unhealthy obsession with bad horror movies, the song Wanted Dead Or Alive and crap British game shows. I do this not because of the sex, drugs and rock 'n' roll lifestyle it affords me but more because it gives me an excuse to listen to bands that sound like hippos mating.

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