Jesse & Klasse Wrecks

Jesse：Klasse Wrecks長期以「Outside the Industry」為核心信念。對你們來說，這句話各自代表什麼？它如何影響你們在音樂、視覺設計以及合作方式上的選擇？

LL：我一直覺得我們跟任何場景都保有一點距離，這並不是刻意的選擇，但我認為不必隨時掌握「正在發生什麼」其實也有好處。廠牌的核心其實就是我和Michael的友情與交流，所以發行本身正好展現這種關係。這些年來我也嘗試讓自己更開放，但同時我很喜歡我們一步步建立起來的「Wrecks小宇宙」。

MH：電影《教父》裡有句名言：「這是生意，不是私人感情。」對我來說，「產業」等同於「生意」。但正如Lucas所說，廠牌根基於我們深厚的友情、我們的熱情與品味，它絕對是非常私人的，而這對我而言就是「在產業之外」（Outside the Industry）的真諦。

Jesse：Klasse Wrecks在全球的電子音樂產業中樹立獨特氣質，並以香港為廠牌根基的背景，好奇你們如何在全球受眾與亞洲脈絡之間找到平衡？

LL：廠牌雖然正式註冊在香港，但我住在英國，而我們的發行則分別在荷蘭與西班牙，所以基本上是分散各地。近年我們曾住過英國、柏林等地，我確實將我們視為國際廠牌。當然，我們與亞洲有一定的連結，而「來自香港」的定位，確實讓我們擁有獨特的角度，畢竟不常見到有人以這樣的方式運作。至於我們兩個，演出結束回到家時其實都很低調，不是在錄音室創作，就是單純放鬆。我現居謝菲爾德，幾乎和當地場景沒有交集；某種意義上，Klasse Wrecks比較像是存在於我們心靈精神上的場域，而非依附於任何特定地理位置。

MH：我認為我們發行的音樂，是為全世界的聽眾而存在。「香港」這個部分，更像是一種心態，那是一種務實、不拖泥帶水，在有限的金錢與時間內把事情做到最好的態度，而我覺得這正是廠牌所展現的核心精神。

Jesse：當你們遇到新興藝術家時，依靠什麼直覺或偏好來決定是否合作？通常是什麼激發你們的興趣？

LL： 對我來說，創作的意圖必須真誠而清晰。我喜歡聽到不刻意模仿某種風格的音樂。我也很享受發行那些新鮮且默默無名的藝術家。過去幾年我們曾與Fjaak、Red Axes等人合作，他們後來都有非常精彩的發展，我很喜歡參與這個轉變的過程。同時我也欣賞那些態度放鬆、不急於「闖出名號」的音樂人，這最終又回到意圖本身的問題，你是因為熱愛音樂而創作，還是因為嚮往成名才創作？

MH：我完全同意Lucas。我們只會簽下那些單純因為熱愛音樂而創作，並且有在關注我們廠牌的人。

Jesse：作為一個以亞洲、香港為根的廠牌，你們覺得這個位置如何形塑Klasse Wrecks的廠牌樣貌？從你們的角度來看，亞洲電子音樂創作者在國際舞台上最大的優勢與挑戰為何？

LL：我想這問題更適合Michael來回答，不過我認為，自從疫情解封後，亞洲場景確實爆發出一股新的能量。本地場景成長許多，音樂上也展現出更多自信與自豪感。國際場景變得更為多元與開放，資訊與人脈的交流比以往更加順暢。

MH：我認為亞洲電子音樂創作者最大的優勢，在於他們能「遠離歐洲或北美場景」這件事。對我來說，最有趣的音樂往往是加入了一點地域性特色，像是底特律Techno與德國Techno、英國Tech House與美國Tech House、羅馬尼亞Minimal（Rominimal）與柏林Minimal，這些音樂雖然都能追溯到相同的根源，但卻因為面對不同文化背景、不同習慣的群體而聽起來各異。亞洲電子音樂創作者最大的挑戰，就是要停止一味追隨歐洲或美國的潮流。

Jesse：在Klasse Wrecks的世界中已超越音樂，還涉及服裝、zine、書籍，甚至和塗鴉社群的合作，好奇這些文化跨界如何凸顯黑膠與音樂依舊是廠牌核心？

LL：有趣的是，我們前幾天才在聊，雖然我們做了很多不同的事，但最後還是把黑膠唱片的銷售量視為成功與否的指標。即使黑膠銷售只佔我們整體的四分之一，它對我們來說仍然極其重要，如果一張唱片在實體上反應不好，我們某種程度上也會覺得「表現不佳」。我們都是在黑膠環境裡長大的人，而黑膠至今仍深刻影響廠牌的運作。我個人對只作數位發行的廠牌缺乏連結，即便我現在也使用USB與數位音檔，但我仍需要感受到廠牌在實體上的某種投入，以及那份帶著信念的承諾。

MH：因為我們開始收集音樂的年代沒有數位格式，你幾乎不可能只聽音樂本身，而不看唱片封面設計、不去觀察它吸引的受眾，或者不走進夜店感受它被播放的現場氛圍。音樂本身只是音樂文化的一部分，我和Lucas感興趣的始終是整個文化的全貌。

Jesse：即使在串流主導的時代，你們依然持續推崇黑膠。除了聲音本身之外，還有什麼文化價值或日常樂趣，是只有親手把唱片放上唱盤才能體驗的？

LL：我認為隨著電子音樂發展愈來愈蓬勃、廠牌數量也愈來愈多，音樂的獨特性正在被稀釋。（有些）DJ 喜歡在選曲上保持一種「獨特感」或「特別感」，但這變得愈來愈困難。以「黑膠限定發行」為例，它正好能滿足那種「找到屬於自己聲音」的渴望；加上實際走進唱片行，與不同專業領域的人交流，這種體驗比起盲目地在網路上搜尋音樂要豐富得多。音樂和社群有著一樣重要的關係，人總是被人吸引，而黑膠正是讓這個場景得以延續的一種方式。

MH：知道音樂真實地刻在膠片上，感覺非常特別。它不是二進位數據，而是真實存在的痕跡。每一個部分的體驗都更具份量、更真實。而用黑膠混音也充滿不確定性，很多事情可能出錯，這種脆弱性和錯誤的可能，反而讓整個經驗更具人性。 Jesse: Klasse Wrecks has long embraced “Outside the Industry” as its guiding mantra. For each of you, what does this phrase represent personally? How has it shaped your choices in music, visual design, and the way you collaborate with others? LL: I’ve always seen us as a little disconnected from any scene, it’s not a conscious choice to do so but I think there’s benefits from not being so aware of whats going on. The label is really based around mine and Michael’s friendship and communication so the output is a fair representation of that. I’m trying to open up more these days but I do love the Wrecks-bubble we’ve built over the years.

MH: There's a popular quote from the movie "The Godfather" - "It's business, not personal". In our case, I see "Industry" being synonymous with "Business". As Lucas mentioned, this label is based around our friendship, our passion, our taste... so it is personal. That's what "Outside the Industry" means to me.

Jesse: Klasse Wrecks has built a distinctive identity on the global stage while being rooted in Hong Kong. How do you see the label navigating between a global audience and the specific local contexts you each move in?

LL: The label is officially registered in HK but I live in the UK and our distribution is based in Holland and Spain so we’re all over the place. Over the years we’ve lived in the UK and Berlin and other places and I really do see us as an international label, there’s an affinity with Asia for sure and I think being ‘from’ Hong Kong’ gives us a unique angle as you don’t see many others doing similar stuff. Both of us, when home from gigs are very lowkey…usually in the studio making music or chilling. I reside in Sheffield at the moment and have nearly nothing to do with the local scene, in a way Klasse Wrecks kinda exists in the mental space between us as opposed to any geographical location.

MH: I think that the music that we put out is meant for anybody all over the world. The Hong Kong part is more a state of mind... there's a no nonsense, get things done the best you can with what you have money and time wise attitude in Hong Kong that I think the label embodies.

Jesse: When you come across emerging artists, do you rely on certain instincts or preferences in deciding whether to work with them? What usually sparks your interest?

LL: For me the intent has to be clear and true, I like to hear music that is not closely aping another style. I also really enjoy releasing artists that are new and unknown. Over the past years we’ve done that with people like Fjaak and Red Axes who have gone on to do amazing stuff, I really like playing a part in that transition. I also like when people are relaxed and not too desperate with ‘making it’ in the music biz, it circles back to the intent…are you making music because you love music or because you love the idea of being famous?

MH: Everything Lucas says. We only sign tracks from people who make good music for the sake of making good music and have been following our label.

Jesse: As a label rooted in Asia and Hong Kong, we’re curious how Klasse Wrecks has made use of this position and perspective in shaping its identity. From both of your viewpoints, what do you see as the greatest strengths and challenges for Asian electronic music creators on the international stage?

LL: I think this is certainly a question for Michael but I would say that the Asian scene has really had a burst of energy since Covid lockdowns, local scenes grew and there seems to be much more pride and confidence with the music. The international scene has become much more mixed and democratic, there’s a much better sharing of information and contacts.

MH: I think the greatest strength that Asian electronic music creators have is to embrace being far removed from the European or North American scene. For me the most interesting music is when a little regional flair is added to it - Detroit Techno and German Techno , UK Tech House and US Tech House, Rominimal and Berlin Minimal - all of the music trace back to the same roots, but they all sound different because they are catered towards different cultures of people with different habits. The greatest challenge for Asian electronic music creators is to stop following the trends from Europe or USA.

Jesse: Klasse Wrecks extends far beyond music, spanning apparel, zines, books, and collaborations with graffiti communities. How do these cultural crossovers ultimately highlight the importance of records and music at the core of the label?

LL: It’s funny we were talking about this the other day, despite all the different things we do we always reflect on the sales of vinyl as a marker of success. Even if vinyl sales represent say a quarter of what we do it still feels so important to us, if a record doesn’t sell well physically then somehow it feels like it’s underperformed. We both grew up with vinyl and it still has such a say on what we do. I personally feel disconnected from a label that just does digital. Even though I play digital with USB I still need to see some kind of investment and ‘leap of faith’ from a record label.

MH: Since we both began collecting music before the digital age, it was almost impossible to isolate the music without looking at the artwork of the record, without observing the people it appealed to, without going to the clubs to listen to it being played. The music itself is only one part of music culture, Lucas and myself are interested in the whole thing.

Jesse: Even in an era dominated by streaming, you’ve both continued to champion vinyl. Beyond the sound itself, what cultural values or everyday joys do you think can only be experienced by physically picking up a record and placing it on a turntable?

LL: I think as electronic music gets bigger and more labels are born the exclusivity of music is diluted, (some) DJs like to feel special and unique in their selections…which is getting harder and harder. Vinyl only releases for example provide a nice way to cater for that hit of finding something that is ‘yours’ plus the experience of actually going to a store and speaking to people with different areas of knowledge is so much more enriching than blindly hoping you’ll find some music online. Music is about community as much as anything else, people gravitate towards other people and vinyl is a nice way of keeping that scene alive.

MH: I think its a great feeling to know that music is physically on that piece of plastic. It’s not binary, its literally cut on to that piece of plastic. The whole experience feels much more precious and much more tangible, more real. Also djing with vinyl - a lot more things can go wrong, there's a fragility and possibility of error that makes the whole experience more human.