Felix Krone is a music composer, publisher, born 1980 in Berlin, Germany. Among other things he is known for his contributions to ambient, electronic dub music and techno.
Having an academic background in law studies and having worked on the foundations of a copyright/participation rights model, Felix Krone is a conceptual thinker.
Felix Krone’s creative process is lead by programming rhythm textures and algorhythms that include probability variables. An important aspect plays the identification of space in repetitive sound environments. He utilizes synthesis from analog machines as well as the computer and often combines it with sounds taken from field recordings to add ambivalent context.
In 2013 he released his debut album ‚Flowers of destruction‘, a work that concentrates on an idea of slowing down time in certain moments to to avoid a loss. Assuming that losses can be associated with forceful explosions, they also have a momentum of strange beauty to them. The idea of slowing time down leads to the interesting premise, that explosions grow like flowers. The end of Michelangelo Antonionis film ‚Zabriski Point‘ (1970) has been an influence for that image. After the dead of his father Felix revisited the topic with his 2017 released album ‚Die Kunst zu verschwinden‘.
His work is based on a constantly growing selection of his own loops of electronic music sequences as well as focussing on improvisational and algorhythmic live synthesis that is adapted for every location in a unique way.
Under the impression of music genres Dub, Jungle, Musique Concrete, IDM, African Poly-rhythmics House and Techno, Krone founded record labels Hidden Hawaii (1998/2008), QNS (2009), Solaris (2011), SUB (2012), Gilga (2013), Nullpunkt (2013) and Nautil (2014). He also founded Krone Music Publishing (2018).
Krones selections/DJ-appearances under the alias ‚Felix K‘ in many places of the world have always been unique. Understanding that grooves are a language of the body, he can turn selections into art (if the audience is up for challenging moments). Although you can certainly recognize an immense intertext of inspirations that spans from music and movies to art and architecture, Krone’s’ production output is hard to pinpoint to any specific musical genre. When listening to his music, it’s hard not to appreciate the way he filters his inspirational input into unique moody and dubby music.