Bakermat es el alias del joven productor holandés Lodewijk Fluttert, que ha tenido un ascenso rápido, fulgurante, en lo más alto de la música electrónica mundial. A sus 25 años puede afirmar haber actuado en los mejores festivales del mundo, siendo el anfitrión de escenarios con su nombre en Tomorrowland durante tres años seguidos y lograr posicionar sus producciones en lo más alto de las listas, tanto de electrónica como de pop. Sus sets están llenos de alegría y felicidad, siempre partiendo de la vertiente más melódica del deep house. Saxofones, flautas, trompetas, Bakermat intenta utilizar con frecuencia todos estos cálidos instrumentos para arreglar sus producciones. La combinación de estos instrumentos de jazz con el deep house es lo que hace que su estilo sea único.
Lodewijk siempre ha tenido una obsesión por la música desde muy temprana edad, en muchos géneros, descubriendo la música house a la pronta edad de 12 años. A los 18 años fue a la Universidad de Utrecht para estudiar Psicología y fue allí donde descubrió deep house y producir su propia música. Pronto desarrolló un sonido propio, su sonido característico deep house con influencias de jazz y soul, y comenzó a atraer mucha atención en un corto período de tiempo.
El pasado 15 de julio pudimos asistir a su set en la sala Razzmatazz de Barcelona. Su segunda estancia en dicho club –la anterior fue en 2016– fue todo un éxito y pudimos conversar sobre algunos temas de su persona, su carrera, su pasado y su futuro.
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WS: Your track with Kesza has become a superhit, well received by the public. How did the idea and opportunity to work with her come about?
B: It’s a funny story really. I had this track lying around for a long time, 2 years even I think, and always believed the song was very good. We just couldn’t find the right singer for it, and I think we tried recording it with around 8 singers in total. After a while I kind of gave up on the song, until I was in LA in the studio with Afsheen (a producer friend of mine). I randomnly stumbled upon the song in a listening session and showed him the track. He thought it was really good and immediately said: ‘I know the perfect singer for this’. He then proceeded to call Kiesza right there and we sent her the demo. She loved it and a week later she was recording! It was a perfect match.
WS: ¿Estás actualmente trabajando en un álbum de studio?
WS: Are you currently working in a studio album?
B: I’m currently actually just experimenting and not really working on something concrete. I think it’s very important to take time to play around with music too and not just be busy with trying to make a product. I have a follow up for Don’t Want You Back that’s already done, but in the mean time I’m trying to improve my sound and come up with fresh ways of producing.
WS: After working with singers like Kiesza or Alex Clare, which other artists would you be interested to work with?
B: I’d love to work with Rex Orange County, I’m a crazy fan of his stuff. Also it’s still a dream of mine to collaborate with Moby. His album ‘Play’ is still the most inspiring piece of art for me out there that I listen to on a monthly basis.
WS: In 2015 you created the Bakermat’s Circus. How do you value this project and have you prepared for the future?
B: This project is special to me because it came from the heart and has a very specific ideology. My music has a place in the musical spectrum but it’s right in the middle. That means the crowds that come to my show are usually very diverse, but still unified in their passion for the music. The idea is that the circustent offers a roof for all these different characters and gives them a place to party without boundaries. In the future I want to expand production and include even more traditional circus elements in my shows.
Deep House is stronger than ever. It’s not a genre just for sunsets and terraces anymore. What do you think this change owes?
I think people in general were getting really sick of the aggressive and hard sound of traditional mainstream EDM and were looking for a bit more mellow music with more focus on melody and feeling. In music there’s always gonna be an opposite to the thing that is currently hot and it’s gonna take over after.
WS: What deep house dj/producer, unknown to most people, would you mention as one of the future top artists?
B: There’s so many super talents out there with the freshest stuff… Castelle, Kokab, Goshfather are some guys I’m watching right now and talking with a lot. They will also all be releasing on my new label Big Top Amsterdam because I think they have a very unique view on music and bring forth really fantastic music. Look out for the new stuff on Big Top Amsterdam to see new music from future top artists!
WS: Your shows often include different elements to offer a live performance, instead of just mixing. How important are those artists in your career? Do they also help you when you are in your studio?
B: I usually like being in the studio all alone, whenever I work with live musicians I invite them to come record stuff that I already pre-wrote. I think it’s in the end very hard to capture a real sense of imperfection and human sound with a computer and you’re always gonna need musicians to bring music to life. My big break came from the fact that I combined tight minimal tech house and deep house with live instruments such as saxophones, flutes and trumpets so it is very important; essential for me!
WS: After hosting you own stage –Bakermat & Friends– at Tomorrowland in 2014, 2015 and 2016, your name doesn’t appear in the 2017 lineup. Why aren’t you going to Tomorrowland this year?
B: Well obviously hosting your own stage is the top of what you can achieve on Tomorrowland in my opinion, and after three years I wanted a new challenge. Instead of playing at Tomorrowland this year I’m gonna play Pukkelpop, another festival around that time. They both demand exclusivity. I’m gonna play with a full live band at Pukkelpop including preacher, saxophone, guitar etc. Will be a really cool new challenge for me.
WS: How was your gig in Barcelona? That was your second time in Razzmatazz, right? What do you think about the club and the city?
B: The gig was great, I really love Barcelona. I have the feeling people in the south of Europe enjoy stuff more in general. Look at the food, drinks and art. I think that’s the reason that when I’m playing a venue like Razzmatazz I see all the people are really there for the music. Amazing club by the way, really cosy and intimate, but still has a big capacity!
WS: Y la última pregunta… ¡¿Cuántas chaquetas de circo tienes?!
WS: And the final question: how many circus jackets do you have?!
B: Three. Black, Blue and Red. But the black and red one are now in the shop for repair.