Originally hailing from the United States, Krista Bourgeois is a fierce industrial techno live performer, producer, and DJ currently based in Berlin. / pictures by KEYI STUDIO / ENG +日本語

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Originally hailing from the United States, Krista Bourgeois is a fierce industrial techno live performer, producer, and DJ currently based in Berlin. Infused with corrosive grit, her sound exudes abrasiveness and unapologetic intensity. Krista’s innovative approach to techno is characterized by industrial soundscapes that evolve into visceral, dystopian textures, accompanied by an unwavering blend of relentless percussion and analog warmth.

Krista’s creative output is shaped by unconventional methods, with modular synthesis serving as the core for both her live performances and studio work. Armed with her self-designed instrument of chaos, Krista navigates through realms of mechanized industrial sound design, experimental noise, and breakcore elements. Demonstrating incisive precision and a commitment to challenging conventions, she seamlessly integrates these components into her distinctive brand of hardcore-infused techno.

Beyond the studio, Krista’s dedication to her craft is evident in dynamic performances that have graced renowned venues and events along the U.S. West Coast, including Tenth Aesthetic, Singularity, and Technoids. Internationally, she has left her mark at notable events such as MASS in London, Renate in Berlin, and the iconic Kit Kat Club for Gegen Berlin. As Krista Bourgeois continues to explore the depths of industrial hardcore techno, her unwavering focus on modular synthesis remains at the forefront of her creative expression. With each composition and live performance, she pushes the boundaries of the genre, leaving an indelible mark on the underground electronic music landscape.



彼女の制作への献身心が、Tenth Aesthetic、Singularity、Technoidsなど、米国西海岸の有名な会場やイベントで輝かしいパフォーマンスを披露していることで明らかです。国際的には、ロンドンのMASS、ベルリンのSalon – Zur wilden Renate、およびGegen Berlinの伝説的なKit Kat Clubなど、注目すべきイベントで自分の足跡を残しています。Krista Bourgeoisが引き続きインダストリアルハードコアテクノを探求するなか、彼女のモジュラーシンセに焦点を当てることで、彼女の創造の最前線にあります。各楽曲とライブパフォーマンスを通じて、彼女はジャンルの境界を超え、アンダーグラウンドのエレクトロシーンに欠かせないな印象を残している。

Hello Krista, a pleasure to meet you! Please tell us something about yourself: how are you today? How did you enter the music industry and what are you currently working on as an artist? 

Hello hello, thank you for having me! I began my artist journey while in college about 4 years ago. I’d been going to raves since I was 16 and always dreamed about being able to do music as a career but it didn’t seem like a realistic choice initially so I started off studying computer science. A year into my degree, I received an email from my school announcing that they were launching a new program focused on electronic music production and the rest is history. I started off producing and then DJing followed shortly after. These days, I am focused on my live modular performance as I’ve found I enjoy it a lot more than DJing.

はじめまして、Krista。あなたのことについて色々聞かせてください。今日はどんな気分ですか? 音楽業界に入るきっかけや、アーティストとして最近取り組んでいることはなんでしょう?

こんにちは、お招きいただきありがとうございます! 私がアーティスト活動をはじめたのは4年前の大学に通っていたときでした。16歳でレイブパーティに行くようになって、音楽でキャリアを積みたいと夢見ていましたが、はじめは現実的な選択だと思えなかったためコンピューターサイエンスを学びはじめました。学校で勉強をはじめてから1年後、新しくエレクトロニックミュージック制作のプログラムを開始するというメールが届き、参加することにしたのです。それから制作をはじめ、次第にDJもはじめました。最近は、モジュラーパフォーマンスにより力を入れています。DJよりも楽しいと感じてる自分がいるんです。

You’re American, but you’ve chosen Berlin as your city of residence. What’s your story connected with the German capital? How did it conquer your heart and how come you decided to make this important step and move exactly to Berlin? 

When I was in college, I lived in Portland, Oregon,  a city with a pretty small techno scene and a pretty non-existent interest in harder styles of techno. I was lucky early on to establish a residency with a collective called Tenth Aesthetic in Seattle which involved a three hour drive each direction to play. Cities with a larger scene like LA were a 2 hour flight away which wasn’t terrible but also not feasible to play in the same city weekend after weekend either. I quickly realised if I really wanted to be able to pursue this as a career, I needed to move to Europe. With Berlin being quite legendary for their techno scene, it seemed to just make a lot of sense. Berlin is quite similar to where I’m from: liberal, artsy, weird, and vibrant but on a much greater scale and intensity level. I had never even been to Europe before moving here so it was quite a leap of faith but I am really happy I made the choice to move abroad. I’ve now been here for a little over two years, it’s still crazy to me how fast time has flown by.

アメリカ出身でありながらベルリンに身を置いていますね。ドイツの首都とはどのような関わりがありますか? どのように心を奪われ、移住といった大きなステップを踏むことになったのでしょうか?

大学時代、オレゴン州ポートランドに住んでいて、そこはハードなテクノが一切ない小さなテクノシーンくらいが存在する街でした。早い段階でシアトル拠点のTenth Athteticというコレクティブのレジデンスになれたのはラッキーでしたね。毎回片道3時間かけて車を運転してプレイしていました。LAのような大きな都市は飛行機で2時間だったので悪くはありませんでしたが、ただ毎週末を同じ都市でプレイするのは現実的ではなかったです。そして、音楽をキャリアにしたいのであれば、ヨーロッパに移住する必要があるとすぐに気づきました。テクノシーンが伝説的なベルリンは、色々と意味をなすと思ったのです。この街は自分が生まれ育った場所と少し似ています。もちろん、それは大きなスケールと激しさの度合いは段違いですが。ベルリンにはリベラルで芸術的で不思議な活気があります。移住する前はヨーロッパに行ったことがなかったので、なんとかなると信じてやってきました。それから海外に住むことができて嬉しいです。引っ越してから2年以上が経ちました。時間の流れの早さに驚きを隠せません。

As the European capital of electronic music, Berlin can be both extremely demanding and very generous at the same time – is it possible to be successful, make real and worthy friendships and simply live a good life there? How does Berlin look in your eyes and what makes you feel well, happy and creative? 

I think that’s a really good question! I think a really necessary thing living in Berlin is to have balance. I became sober a few months after moving to Berlin because the party scene became a bit too much for me. That being said, I still like going out to parties and I think I even have more fun now that I remember the whole night out, it’s just a bit harder to stay out past 5am! I also feel I’m a lot more productive and generally content with life which I think has helped me progress a lot more musically than if I were still trying to go out 5 nights a week. Having the balance of being on a regular schedule, going to the gym, eating healthy, and taking care of my mental health has been key to finding my sense of balance. 

電子音楽のヨーロッパの首都として、ベルリンは非常に要求の厳しい場所でありながら、同時に非常に寛大な場所でもあります。ベルリンで成功し、真の友情を築き、単純に良い生活を送ることは可能なのでしょうか? あなたの目から見てこの街はどう写っていますか? どんなものがあなたを幸せかつ、クリエイティブにさせますか?

とても良い質問ですね! ベルリンに住むうえで必要なのはバランスだと思います。パーティシーンが少し過激すぎるため、私は引っ越してから数ヶ月後にお酒もドラッグもやめました。それでもパーティに行くのは好きです。今は一晩中の記憶が残っているので、より楽しめていると思います。ただ、朝5時以降まで残るのは少し大変だけれど。それに、素面でいることによってより作業の効率が良くなったし、意義のある人生を送れている気がします。もし今も週5日でパーティしていたら、音楽活動はここまで順調に進んでいないと思います。規則正しいスケジュールを保ち、ジムに通い、健康的な食事をし、精神的な健康に気を使うというバランス感覚が、私の生活の中で重要なポイントとなっています。

Which Berlin joke (or stereotype) that is rooted in the electronic music culture you discovered to be, actually, real? 

I had heard that Berliners partied for days at a time but didn’t really realise how true that was until moving here. It’s really wild to me how long some of the parties go, often up to 72 hours. Back home, parties were generally 6 hours max and started much earlier in the evening, it’s on another level in Berlin.



Oh those Berlin-based jokes, step aside! Let’s come back to you and your music – have you discovered immediately your style and the way you want to play or you’ve been experimenting with various genres? Was your career path dedicated to hard industrial techno and hardcore from the early beginning? And which artists – also those completely out of the electronic music world – were your biggest inspiration? 

In the beginning I was experimenting with house and quickly transitioned into techno after attending some techno parties in LA. It was a slow evolution to the style I play now, each year I feel like I discovered more and more industrial and harder techno artists and labels and grew to really appreciate those styles more. I was heavily influenced by Paula Temple, Ansome, Perc, and Scalameriya.  I feel pretty settled into the style I play but I still like to experiment with elements from other genres that I listen to outside of techno like drum n bass, breakcore, and old school dubstep.

ベルリンのジョークの話はさておき、あなたと音楽について話していきましょう! 自分のスタイルやプレイの方法を見つけるのは簡単でしたか? それとも異なるジャンルを試している状態でしょうか? また、強めなインダストリアルテクノやハードコアは、キャリアを築きはじめた時点から専念していたジャンルでしたか? エレクトロミュージック以外のアーティストで1番感化された人は誰でしょうか?

はじめはハウスを試行錯誤していましたが、LAのテクノのパーティに行くようになってからはテクノにすぐ移行しました。今の自分のスタイルに辿り着くまでは進化のプロセスはゆっくりだったと思います。年々、多くのインダストリアルとハードテクノのアーティストやレーベルを見つけ、そのスタイルに感謝していくようになったのです。PaulaTempleやAnsome、Perc、 Scalameriyaなどに強く影響を受けました。現在のスタイルにかなり落ち着いていますが、それでもドラムンベースやブレイクコア、オールドスクールのダブステップといった、テクノ以外のジャンルの要素を試すのが好きです。

I can call your 2022’s podcast for Gegen one of the most emotional hours spent with music (and one of my last year’s highlights!) – it’s been a long time since I’ve experienced as many various emotions caused by such a well-curated selection. How long does it take to work on a guest mix or set? Where is your starting point, where do you search for inspiration and does it happen that you change the mood and already selected tracks, compared to the beginning of the work? 

Ah, thank you so much! I generally spend a week or so collecting music for a mix and maybe another week deciding on the tracks and working on the mix. Although I don’t create DJ-style mixes anymore, when I did, I would have a playlist of tracks in my Rekordbox that I knew I wanted to play at some point. I would also dig through a big excel spreadsheet I’ve made of all the labels I like to grab tracks from and dig through their back catalogs to see if there were any gems I’ve missed. My mixes are generally all in a similar mood, dark and heavy, so it makes it easy to mix and match tracks but I like to have a built-in energy throughout the mix. I think that it’s important to tell a story and not just play all-out bangers the whole time.

2022年にGegenから発信されたポッドキャストは最も感情的に時間を過ごしたので、特に印象に残っている音楽です。キュレーションがしっかりしていながらも、さまざまな感情を体験することができたのは久しぶりでした。ゲストとしてミックスやセットを組むのはどれくらいの時間がかかりますか? どこからはじめ、どこからインスピレーションを得るのでしょうか? 仕事をはじめた頃に比べて、気分が変わってすでに選曲したものを変更することはありますか?

ありがとうございます! ミックスを作るときは通常1週間ほどかけて音楽を探します。そしてそれから、また1週間かけて選曲するのです。今はDJスタイルでのミックスは作らないようにしていて、やっていた頃はRekordboxにいつか流したい曲を溜め込むプレイリストがありました。それと、曲を取り入れるのが好きなレーベルを自分でまとめた大きなExcelスプレッドシートを調べたり、見逃した曲がないかバックカタログを掘り下げたりします。私のミックスは基本的にいつもダークでヘビーな気分を味わえます。なので、曲を組み合わせるのは簡単ですが、ミックス全体にしっかり組み込まれたエネルギーがあるものが好きです。ひたすら爆音を流すだけでなく、物語性を与えることはとても重要だと思っています。

What does your production workflow look like? How much time do you dedicate to improvised “jamming” sessions, and how long does it take to prepare the final versions and mastering? Does it happen that machines revolt against you? And what happens if you’re not satisfied with the effects of your work…?

Typically I begin my projects by designing a kick in Ableton which generally takes a few days and then building the rest of the components around it. I play around with my modular until I find some nice atmospheres and leads and record them into Ableton and then chop and mangle the recordings. My workflow is a bit chaotic as I end up with hours of modular recordings and a million slices of audio that I rearrange like a puzzle for sometimes weeks before it’s all finished. I’m a pretty slow producer as I like to take my time working out ideas and I think it’s difficult to create something new and interesting in just a few days. I tend to rework a track over and over until I’m happy with it. I have a hard time just moving onto a new project when it’s not going as I like. I have to finish it, even if it takes a lot of tweaking and reworking bits until it falls into place.

制作のワークフローはどのような感じですか? 即興で行うジャミングセッション、最終バージョンとマスタリングの準備にはそれぞれどれくらいの時間を費やします? 作業の効果に満足しない場合、どのように対処しますか?


… and opposite question: when you’re catching the wind in your sails, what brings you the biggest joy as an artist and producer? 

I think the best feeling is when hours and hours of preparing a live set come together on stage and you get to share this piece of yourself with other people on a nice Soundsystem. 



I’m very curious about your upcoming release: could you please tell us more about it? What’s the big idea behind it, what inspired you and what we can expect from this material?

This November I have a 3 track digital EP releasing via PRSPCT Recordings. I started work on this EP in spiring of  2022 and spent the majority of the past year working on completing it. I wrote this EP after the unexpected death of  my father and was in a really dark headspace. I wrote this EP as a way to process my loss and to move forward.  It’s been a really special project for me and I wanted to take the time to create something genuinely ‘me’. 

新しいリリースについて非常に興味があります。アイデアや影響を受けたものなどについて詳細を教えていただけますか? またどんなものが期待できるのでしょうか?

11月に、PRSPCT Recordingsから3トラックのデジタルEPがリリースされます。このEPの制作は2022年の春に始め、ほぼ過去の1年間、完成させる作業に費やしました。私は父親の予期せぬ死の後に、非常に暗い精神状態にありました。このEPは、喪失を処理し前に進む手段として書かれました。これは私にとって非常に特別なプロジェクトであり、純粋に自分らしさを表現するために時間をかけたかったのです。

“Creation Through Destruction”. It’s not only a very powerful statement, but also the title you’ve chosen for the new EP. Many people are afraid of using this kind of power in the creative process – if used unconsciously and without control, it leads to pure destruction. As an artist, how do you perceive energies and the working ideas? In your opinion, can destruction have some bright (and surprising) sides?

For me, the ability to create something from a state of destruction holds deep personal significance. I’ve experienced challenging moments in my life when everything seemed to be falling apart, but it’s during these times that I’ve drawn creative inspiration. In the realm of music production, I use distortion and noise as integral components of my work. I’ve found that deliberately pushing a sound beyond recognition can lead to intriguing and unexplored sonic territories that might remain hidden if I didn’t allow the sound to undergo a process of deconstruction.

I would describe my music as a form of “organized chaos.” While it’s important to preserve some elements in a cleaner, more structured form, the interplay between destruction and creation in my work reflects the inner workings of my brain and how I view art.

「破壊を通じた創造」。新しいEPにつけたタイトルでも力強い表現です。多くの人はこのようなパワーをクリエイティブに利用することを恐れます。無意識に制御せずに使うと、単なる破壊につながるでしょう。アーティストとして、エネルギーや仕事上のアイデアをどのように捉えていますか? 破壊には明るい(そして驚くべき)側面があると思いますか?



Your new EP will be a debut release in PRSPCT – a Dutch label known from its passion for hardcore & industrial sounds, as well as of its very straightforward vision of the electronic music scene. How did you find each other and come to the idea of working together? What did the process look like and what was the best / most surprising part of it? And are you already planning something more for 2024 and upcoming years? 

I’ve been a long time listener of PRSPCT, as most of my favorite artists and inspirations have been mainstays on the label. PRSPCT represents to me what music should be about, pushing boundaries and creating unique, but hard hitting music regardless of what’s trendy. It was last year in 2022 at ADE where I was able to connect with Gareth (Thrasher) from PRSPCT in person and in early 2023, I shared my music with PRSPCT, and our relationship began.

It’s still quite surreal to me that I’m releasing on a label that has held such a revered place in my heart and musical journey. Becoming a part of this community carries immense significance for me, and I’m truly honored to be part of it. 

Looking ahead to the future, 2024 will be quite exciting as my EP will be pressed to vinyl which also marks my first release on wax. I am already in the early stages of brainstorming new projects I’d like to collaborate with in the future. I don’t believe in the current trend of ‘collecting’ as many labels under your belt as possible. I think it’s really nice to have an ongoing collaboration to grow and develop with a label so I’m looking forward to what the future holds with PRSPCT. 

あなたのEPは、PRSPCTと呼ばれるオランダのレーベルでの初リリースになります。このレーベルは、ハードコアやインダストリアルサウンドへの情熱と、エレクトロニックミュージックに対する率直なビジョンで知られています。お互いはどのように出会い、一緒に制作することになったのですか? どのような過程があり、そのなかで最もよかったことや驚いたことはなんですか? また、2024年とそれ以降に向けて新しいものをなにか計画しているのでしょうか?

好きなアーティストやインスピレーションの源は、このレーベルの中心的存在だったからです。PRSPCTは私にとって、音楽のあるべき姿を象徴しています。境界線を押し広げ、流行に関係なく、ユニークでありながらヒットを飛ばしている。あれは去年、2022年にADEでPRSPCTのGareth (Thrasher) と直接話す機会があり、2023年のはじめにPRSPCTに私の音楽を共有してから関係はスタートしました。私が心からずっと崇拝していたようなレーベルからリリースができることは、まだ信じきれていません。このコミュニティの一部になれることはとても大きなことで、光栄です。


I heard the previews of the upcoming EP and I must say that I’m really impressed: you’re pushing the boundaries of electronic music genres, but you’re doing it in a  very stylish, high-quality and intriguing way. What’s your definition of personal style? Not only in music, but in life in general? 

Thank you so much!

My style in music is dark and brooding, dystopian, noisy, raw, and atmospheric. In my life outside of music, I am interested in avant garde, grunge, and dystopian fashion. Art heavily inspires me, I love surrealism and dystopian art, both traditional and in Anime and Manga. Salvador Dali, Zdzisław Beksiński, Basquiat, and Hieronymus Bosch are some of my favourite artists. I’m also a big fan of both Gothic and Brutalist architecture and have a deep love for abandoned spaces overrun by nature. 

今回のEPのプレビューを聴きましたが、本当に感動しました。あなたはエレクトロニックミュージックのジャンルの境界線を押し広げていますが、とてもスタイリッシュで高品質、かつ興味深い方法で行っています。あなたの思う個人的なスタイルとはなんですか? 音楽だけでなく人生全体において。

ありがとうございます! 私の音楽のスタイルは、暗くて陰鬱、悲惨、ノイジー、生々しさ、ムーディですね。音楽以外の私の生活では、アヴァンギャルド、グランジ、ディストピアンなファッションに興味があります。スリリズムやディストピアンアート、伝統的なものからアニメやマンガまで、さまざまなアートに影響を受けます。Salvador DaliやZdzisław Beksiński、Basquiat、Hieronymus Boschがなかでもお気に入りのアーティストです。あとは、シックとブルータリストの建築の大ファンでもあり、自然に侵食され見捨てられたような空間を深く愛しています。

What kind of difficulties come across to women – djs, producers, visual artists, etc. – in the electronic music industry? Have you ever experienced some obstacles that do not happen to the male part of the club culture and how women in the techno world can express their femininity? 

I think you have to prove your competence more than male counterparts in the scene in order to be taken seriously which can be a bit frustrating. For example, my partner is really supportive and comes to all my gigs and I have had other artists ask if he’s essentially my ghost producer which I don’t feel like would happen if the situation were flipped and I were the partner of a male artist. I don’t think anyone would assume I was the mastermind behind my partner’s music career just because I came to his gig.

女性としてDJやプロデューサー、ビジュアルアーティストなどの活動を続けるにあたって、どういった困難がありますか? 男性が経験するクラブカルチャーでは起こらない苦難を経験しましたか? また、テクノの世界でどのように女性らしさを表現できるのでしょうか?


top: Prada

Speaking about femininity – or rather the elements associated with it like delicacy, softness or subtlety. Is it possible to find them in the hard, raw, industrial soundscapes that you create, or does your music have a different side? Or maybe you find gentleness in other forms of expression? 

I want my music to feel cathartic for people when they listen, a way to let out stress, frustration and anger. I think a big reason I make the aggressive noisy music I make is as a coping mechanism for the trauma I’ve faced and mental health struggles I’ve dealt with. I don’t want to make soft or delicate music because that’s not what feels genuine to me.

女性らしさについて話しましょう。それは繊細さ、柔らかさ、微妙さなどと関連する要素とされることが多いと思います。あなたが作り出すハードで生々しく工業的なサウンドスケープには、それらの要素が見られるのでしょうか? それとも、また別の側面がありますか? それとも優しさという部分は音楽以外での表現で見出しているのでしょうか?


I’m a big fan of the expression that our dreams are actually waiting for our courage to reach them. I guess there is no better description for your story with the release for prestigious Soma label – your version of 3SBAT’s “Draconic Cycle” won in the remix competition and was released on the EP. How does it feel to get the “wild card” to the label that gave a lot to modern techno music and is still one of your very important inspirations? 

Being able to release on Soma was a huge milestone for me as a producer and gave me a lot of confidence that I was lacking. It was incredibly validating to have a label of Soma’s level choose your track.  Although it’s a bit bittersweet since I don’t relate my current sound to that track anymore, I am really grateful for that experience as it pushed me to write more music and know that I was being a lot harder on myself than I should be. 

夢は私たちが手を伸ばして届くための勇気を待っているという表現がとても好きです。おそらく、Somaレーベルのリリースに関するあなたのストーリーには、これ以上の説明はないでしょう。3SBATの「Draconic Cycle」のリミックスコンペティションで勝ち取り、EPとしてリリースされました。現代のテクノミュージックに多くを提供し、今でもあなたの重要なインスピレーションの一つであるレーベルに「ワイルドカード」をもらった感覚はどうですか?


dress: Nele Westerkowsky

Which of your dreams – both those related to music and in your private life – is actually the work in progress? What should we keep our fingers crossed for, what to wish for and what you mostly need to get what you wish for? 

I am over the moon to release my first EP in nearly 3 years on PRSPCT Recordings. PRSPCT has been a really big inspiration to me and I put together an EP that I feel represents me as an artist so it’s a very exciting release for me. I also have a track coming out on a VA for Rebekah’s label Elements, which is another release I am proud of and can’t wait to share with everyone! I’ve been working hard on developing my sound over the past couple of years and it’s nice to be able to finally have music coming out that truly reflects what sound I want to put out into the world.

音楽と私生活のどちらにおいて、実現に向かっているあなたの夢はなんですか? 私たちが応援や祈るべきことはありますか? そしてあなたの望みを叶えるために必要なものはなんでしょう?

3年ぶりにPRSPCT RecordingsからEPをリリースできてとっても嬉しいです。 PRSPCTは私にとって大きなインスピレーションであり、EPを通してアーティストとしての自分を表現しきれたことで素晴らしいものになりました。また、2023年末にはRebekahのレーベルElementsのVAにトラックが収録される予定です。これも自信を持っているリリースで、みなさんに共有するのが待ちきれません! 過去数年間、自分のサウンドを開発するために一生懸命努めてきましたが、ついに自分が世界に発信したいサウンドが反映された音楽を出すことができて嬉しいです。

The Golden 5 List of the most important electronic music tracks according to Krista Bourgeois consists of… (and why?) / Krista Bourgeoisにとって最も重要なエレクトロニックミュージックトラックの輝かしいトップ5リストは?(理由もお願いします)。

Well I don’t know if I can say the most important, but these tracks have been some of the most influential in my life. Starting with the oldest to most recent.


1. Tipper – Trenched

Going back back in time, this sort of psychedelic bass music was all I listened to for years. To me, Tipper is the pinnacle of what it means to be a sound designer. Every Tipper track is insane but this one in particular was one of my favourites, I can’t even tell you how many times I’ve listened to it.


2. Silkie vs Truth – Feel

This is one of the most beautifully produced garage/dubstep tracks of all time in my opinion. Basically all of Deep Medi is legendary and I can’t recommend enough. 

最も美しく制作されたガラージ、ダブステップトラックの1つといえます。基本的にDeep Mediのすべては伝説的で、何度おすすめしても足りません。

3.  DJ Madd – New Reality

Oldschool dubstep is some of my favourite music outside of techno. The really old stuff, like this track, is my jam. Deep, deep bass, and well thought out minimalist sound design. The mood of this track is hard to place, like most music in this genre and I absolutely love it.  When I think of dubstep, this is what I think of.


4. Ansome – Pedal to the Metal

This entire album, but especially this song, inspires me immensely. Ansome’s sound design with his modular is on another level and the intricacy of this track is really special. There’s a constant tension between the sounds that duck in out between the broken kicks that I can’t get enough of.

このアルバム全体、特にこの曲は私に強いインスピレーションを与えています。 Ansomeのモジュラーのサウンドデザインは別次元で、このトラックの入念な仕上がりは本当に特別です。壊れたキックの間に出入りする音の間に常に緊張感があり、何回聴いても飽きません。

5. Ghost in the Machine – Breaking the Seal

The haunting mood of this track coupled with the crisp sound design is a masterclass in hard industrial techno. I come back to this track again and again. I remember when this was released, I listened over and over, overwhelmed with how stunning  this track is.


Thank you so much for the interview, Krista, and please keep on creating music and inspiring us to reach for the stars! 

Krista、インタビューを受けてくれてありがとうございます。これからも音楽を   創り続け、夢を叶えるために私たちをインスパイアし続けてください!

Talent: Krista Bourgeois

Interview: Agata Omelańska

Translation: Hiroyoshi Tomite, Sara Hirayama

Pictures + Styling: KEYI STUDIO Grzegorz Baciński, Izabella Chrobok www.instagram.com/keyimagazine

Styles: Prada, Alexander McQueen, Kuboraum, Nele Westerkowsky, Helena Belenguer, Emilia Seitz & more

Production: Keyi Magazine