Vikter Duplaix Interview

Emm: Speaking of the different labels, your DJ kicks compilation last year was on the k7 label, but "International Affairs" is on Hollywood records. Why did you switch labels?
VD: Well the thing about it is, when you deal with independent labels like k7, they're great for grassroots promotion and helping to develop a credible name in the international music community, but they're not really set up to do aggressive artist promotion. The cost associated with that is so high, it's not to their advantage do to that. They use a lot of magazine press and word of mouth, which is free. I want the music to be in as many people's hands as possible, and I think it's important to be at a major label to do that because they have the resources. Granted it's not always guaranteed because there are a ton of critically acclaimed artists that only sell 50-60k records. But I thought my chances to reach broader audience would be better with major distributor rather than with an independent label. Whatever the case I'm still gong to make more albums.

Emm: How do you feel about recording artists using different aliases; do you have a problem with that?
VD: My problem with aliases is not tied to when an artist collaborates with other people. For example, Critical Point is a concept group with others, not just me. Scuba is me with King Britt. But, you see a lot of records by just one person with 18 different names, then they complain about not getting recognition. There is a value to the consistency of attaching the product to person who created it. If you change moniker so many times, people don't know who the hell you are--when you're doing different projects with other people it's easier if it's a group concept. Within the concept you can do all kinds of different things without being attached to whatever that person is known for. I'm going to continue to use the Critical Point moniker. I'm going to develop an album project for that soon. It will be kind of a science fiction dance-floor soul thing. That's really want that project was about-- doing music that was so explosive and so futuristic that it takes you to that critical point. I'm not sure what we're going to do with Scuba. It may evolve into something else that may be King Britt with other people besides me. That's really King's baby.

Emm: How long have you known King Britt?
VD: We've known each other since high school. I didn't know he was a DJ to be honest. I was a DJ doing hip-hop parties and high school dances and proms and stuff . I just thought King was kind of an artsy guy that hung out in the artsy part of town. I didn't' know he was into music at all. One day I was hanging out with the artsy crew in downtown Philly, and we ended up at this artsy club and there was King spinning the artsy music. From that point on we had a relationship where he exposed me to a kind of music, people, and lifestyle that I was unaware of. I was a bit narrow-minded at that time because I was a guy that didn't necessarily fit in the hood, but was married to the hood. I thought that was the only thing that existed and I was trying to survive in it. King exposed me to a lot of things, that was a transition for me and my musical development. I saw that there was an audience for some things that were different.

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