Words by Jena Sivakuma & María Paula Fernández
Helmed by Norwegian-born, Argentinian-raised Espen Lauritzen, Krill Music first got its foothold in the techno circuit in 2011.
The rise to the label’s notoriety began back in 2008. Lauritzen frequented Buenos Aires’ Cocoliche, which played a very pivotal role in shaping both the scene and sound that can now be accredited to South America. A techno bootcamp of sorts, the club acted as a melting pot for all fans of the techno genre in Buenos Aires. It was here that Espen created a friendship with, the then resident, Jonas Kopp – which would later go on to pay dividends to Krill Music’s inaugural release.
It wasn’t until 2 years later that the inevitable move to Europe happened. 2010 saw the Argentinian make his move to the European techno capital of Berlin, where plans for KRL001 aka Transparent / Anklad came to fruition, at the hands of AnD and Jonas Kopp. For a maiden voyage, the EP was very well received. Accumulating accolades from reputable music publications such as Resident Advisor and making the cut for Norman Nodge’s Boiler Room set, it was clear that there was a new powerhouse in the scene.
Over the years, the imprint managed to amass a multitude of heavy hitting artists. The likes of Henning Baer, Charlton and Ascion all made appearances, but Espen made a point of not forgetting who he owed the label to – Argentina. It was obvious that Krill was a platform to showcase local talent. Alongside Jonas Kopp; Pfirter, Szare, Luis Ruiz also contributed to various degrees.
Though the catalogue boasted a wealth of big artists, the aim was not to flaunt established artists. The fourth release came from a mysterious artist who went under the moniker X501 to conceal his identity. It was later revealed that this was Raffaele Attanasio using this guise to weed out the true fans, who are not just following trends. Krill’s mission statement being “Let the music speak for itself.”
Once Krill Music had comfortably found itself a mainstay in every DJ bag, it turned its focus to curating a various artist outpost, which fabricated itself in the form of the Krill Habitat series. In keeping with its ethos, Habitat provided a pedestal to promote established and even unknown artists. In the more recent years, esteemed artists such as Stanislav Tolkachev and Matrixxman have also orchestrated some timeless tracks for the series.
Since the label was created in November 2011 in Buenos Aires, Argentina, Krill Music has come a long way and learned how to pave by hard work and solid releases, its path on the techno scene. Now on its sixth year of operations, Krill Music is in high spirits and wishes to celebrate big with its followers.
Krill Music starts the new year in full throttle by releasing Habitat VI, the last EP of the coveted series on January 2017. Plus, as a result of popular request, and as a thank you gift for the followers, the label plans to release digitally all six EPs of the series just two weeks after the VI vinyl unveiling. 2016 has been a very fruitful year for the label, and with this latest news, 2017 already is shaping up to be the most fruitful year since the inception of the label.
Having gone from strength to strength, and ticking off many enviable milestones along the way in terms of releases, Espen’s next project sees him bringing the pressing of techno vinyls to Argentina. The latest project Krill Music South Series will be in charge of distributing affordable records for the people of South America. In the current climate, taking into consideration taxing and the likes – importing EPs and LPs from Europe is nigh on impossible. Now with the help of the government, Espen Lauritzen will give back to South American music lovers by bringing them affordable vinyl. After all, Krill is not just about releasing music, but giving back to the people.
Listen to Krill Music on Soundcloud