Interview: Kato De Vidts
Kato De Vidts is back on Futurepast with her third installment, building on the emotional depth of her previous release on the label. In collaboration with J. Noon, De Vidts has crafted an immersive soundscape that beckons the audience to ascend into a celestial, hypnotic state. We sat down with the creative mastermind behind this EP and asked her some questions about the creative process.
Hi Kato! Your third EP on Futurepast is here. What can we expect? Hi Guys! This four-track EP emerged from a mix of deep, slow-building emotion and propulsive energy. As a result, the third EP in the sequence flows between rhythmic and beatless moments, guiding listeners across a colorful sonic landscape—the aerial superhighway. Ta-da! How did the relationship with the label come to life? The Brussels electronic scene is a vibrant breeding ground and network of talented creatives, so it was only a matter of time before connections started to form. In 2020, label manager Davy Vandegaer set out to launch a parallel release series called "Alternative Earth," focusing on introspective and ambient music. We decided to give it a shot, and from the start, it felt like family. Over time, I've developed a deep sense of loyalty to the label and the wonderful people behind it. Forever in collaboration with J. Noon, how do you guys inspire each other? Our collaboration is fueled by a boundless curiosity about each other's creative practices. I'm a storyteller and composer, while Jeroen (J. Noon) is an enthusiastic sound designer and performer. We are both driven by—and continuously learning from—our different yet complementary approaches to creation.
Can you walk us through your creative process? What comes first – the mood, the melody, or a specific sound design element? The genesis is always a mood, inspired by daily life and translated into a simple composition. I create the MIDI blocks and components to build the story. At this early stage, it's the background atmosphere that holds everything together, subtly resonating with my current inner state. Later, I join Jeroen in his home studio, where he has a larger modular setup. This is where the chemistry happens: by running the signal through the modular rack, the wizardry of J. Noon brings it to life. The composition begins to breathe. This surge of energy is so inspiring that the rest of the process usually flows naturally from there. What tools or gear did you use to create the sounds on this EP? Any favorite synths, field recordings, or software? We tend to limit ourselves to a small number of modules; the setup consists of only three main modules (manufactured by Mutable Instruments and Xaoc) and a few effects, supported and enhanced by a DAW (Ableton). Over the past few years of making music, working "in the box" has allowed me to continue creating from abroad or wherever inspiration finds me. Though initially tied to a computer, the modular setup has gradually become indispensable. The female voice recording in Passing Pleasures is actually a spoken synth manual processed through granular synthesis. In general, I’m incredibly fond of and moved by the sound of the female voice. Is there a central theme or narrative that ties the tracks together? How do you want listeners to feel or experience while listening to the EP?
We want the listener to make the experience their own. But in response to the question, it's always an invitation inward. It’s up to the listener to interpret, to journey, and to choose the colors, images, or emotions that are evoked.
Mixing ambient music can be delicate, as subtlety plays a huge role. How do you approach the mixing process to maintain clarity while also creating depth? In ambient music, reverb is one of the most essential parts of the chain. By carefully adjusting each element, we aim to preserve clarity and a natural feel, finding that perfect balance without making it sound overly "wet" (though sometimes, the temptation is hard to resist!). How do you hope your listeners will engage with this EP? Are there particular settings or situations where you imagine your music being most effective? Passing Pleasures is definitely for dancing in the kitchen. I can’t help but picture Dragon Dance against a breathtaking natural backdrop—perhaps influenced by the unforgettable experience of hearing it in the Japanese mountains at Labyrinth Festival 2023. Aerial Super Highway is for taking off, while Meridians gently guides a soft landing. What’s next for you as an artist after this EP release? Any collaborations, tours, or future projects on the horizon? After a few shows in Antwerp (WAV), Ghent (Funke), Barcelona (Mostra Festival), Brussels (C11), and Vielsalm (La Nature Festival), Jeroen and I are taking a few months' break to gather new inspiration and let creativity naturally find its way back. Taking pauses also helps us avoid falling into repetitive methods, giving the music a fresh feel each time we start again. Our paths first crossed back in 2013, leading to seven seasons and 30 editions of Technoon—a Sunday noon techno gathering in Brussels. From there, our collaboration evolved naturally into a shared studio project. Let’s see where the path takes us next; the release of the album is certainly a wonderful incentive to keep flying onward. Buy Kato De Vidts - Aerial Super Highway on Bandcamp
