Everything started in the Original BedroomRockers Studio Kruder & Dorfmeister’s story is not just a story of refusal andrenunciation. As the two started making music together in the early1990s, there was hardly anything that the two didn’t do “wrong”, andtherefore, exactly right. At the time, Vienna was a metropolis of the aspiring techno movementand was active, during the initial heyday of the revolutionary style. Butthe two gentlemen, K&D, rather followed the tradition of thecontinental cosmic “dancefloor” of the 1980s, which searched for auniversal language of dance music, influenced by hip hop, raregroove, dub, new wave and last but not least, of music that stoodout between all those categories. As the first post-acid jazz productions of labels like Ninja Tune or MoWax heralded a new era, Kruder & Dorfmeister were already a stepahead of those protagonists. The sound of K&D’s groundbreakingdebut “G-Stoned”, already apparently influenced by the elegiacarrangements of productions from the 1960s and 1970s of Afro-jazzand Pink Floyd, made many top producers begin scratching the backsof their heads, asking themselves who could have generated such anorganically-flowing, complex yet subtle sound with only two Akaisamplers, a Roland Space Delay and a dusty mixer. Offers came pouring in like heavy rainfall in a mid summers day, butthe two stubborn gentlemen didn’t play along: after the success oftheir “DJ-Kicks” and “Sessions” CDs, which sold millions worldwide, they turned down most of them. K&D always enjoyed not following advice and abandoned all of theenticing major offers, all of the promises of full-speed marketingmachinery. Instead, they provided musician friends with distribution ontheir G-Stone label, hung out in the studio and put together follow-upprojects, like Dorfmeister & Huber’s Tosca or Kruder’s PeaceOrchestra. Whoever heard the two DJing at the time, noticed that the cliché ofsmokey time-loop jazz had long been left behind and gave way to theirown spirit of research. Besides excursions to drum & bass and sub-genres, such as broken beat, straight 4/4 rhythms crept into their setsand roughened up the eternal Balearic sunset.