Bill Youngman interview

This is what the Tresor site says about Bill Youngman:

After years of jazz and classical guitar training, Youngman decided in ‘94 to put the strings aside for a bit of electronic dabbling. Being influenced by instrumental music, drum ‘n bass, hip hop and bleep techno resulted in his take to be coined “electrostep”.

In 1995 he met producer John Selway from Serotonin Records, for which he would release his first EP in fact entitled ‘Electro Step’. This debut EP displayed Youngman’s hybrid of drum ‘n’ bass tempo, breakbeat chops with the tonalities and bleeps of classic electro. Youngman started to perform live in New York and released a couple more EPs for Serotonin. In 1998 Youngman met Neil Landstrumm (Scandinavia Records, Tresor) and soon after an exchange of tracks – the ‘Zooted’ EP – was released, which contained innovative cuts that well complimented the Scandinavia Sound. The ‘Bad Box’ EP followed in ‘99. Landstrumm and Youngman collaborated on further tracks experimenting with the machines and broken beatboxes.

Keep it simple, I say – my new self-disciplined look.

I love Youngman’s work, and have done for years – ever since I picked up ‘Zooted’ back in Melbourne. And while his live work with Tobias Schmidt inevitably smites my senses, he also just did a sizzling remix of a track I made with Japanese artist Kana Masaki, called ‘Because It Pays So Thin’, so I’m thoroughly swayed by the man’s talent anew.

What was I saying earlier about simplicity? OK, without further ado nor unnecessary rambling, hereafter follows a Q&A that Bill and I just conducted via e-mail, bouncing between Berlin and Tokyo. I love modern communications technology. Beats the telegraph hands-down.

Yawn question. What get inspired you to start making music?
“Watching DJs play breaks after finishing my Sunday matinee hardcore shows at my local youth center.”

Where in the US were you born, and what’s it famous for?
“New York City… famous for bad air, stress, suit and tie guys.”

When did you move to Berlin, and why?
“Made the move in 2001; it wasn’t planned… I was offered a German tour, did it, and fell in love with the city in the first week. Simply stayed with my gear, and the shirt on my back.”

You’ve been producing music and interacting within the music industry for quite a time now – how long exactly? What keeps you motivated, and what integral changes have you noticed over that time period?
“I’ve been making music since I was a young one. Studied guitar for many years, did loads of four-track recordings until the day came where my boss, Dr Rhythm,
became more useful than simply a back-beat for the guitar-shredding. My motivation comes from exploring new ways to translate my immediate emotions into sound. The constant attempt at innovating to keep my ears happy…

“I can safely say that is my mental goal; I pay little attention to what’s happening in scenes. I’m always afraid to be subconsciously influenced by anything other than what comes natural to my character.”

What gear/software are you making most use of in the studio at the moment?
“Always changing – trying out new kit that I don’t know always results in randomness, sometimes for the better. If i had to narrow it down to my favorite pieces, it would be the MS-20, MPC, and Digital Performer.”

Which part of your studio is the most vital facet?
“I have a rare Siemens mixer from the mid ’80s, a gift from Jamie Lidell. It looks like a spaceship and is an inspiring centerpiece even when not in use…”

What food/drinks keep you fueled throughout production time?
“…food? Sand and chocolate keep me alive… and scraping the remains of a human life out of the studio when session is done…”

Your first releases came out through John Selway’s Serotonin label. How’d that happen?
“John and I attended the same music school – he had already finished during my run there, but had visited from time to time and I bumped into him after partying in the wee hours and played him some of my breakbeat experiments. He didn’t believe that I made the music, so I had to explain to him my method. After a small chat, he decided to give me a boost and help me shape my ‘electrostep’ sound.”

The ‘Zooted’ EP was the first release you did on Neil Landstrumm’s Scandinavia imprint, right, in about 1998? How did that come about?
“Another fluke… I met Neil for about a half minute in New York at Satellite Records as he was scrounging around for an Akai S-1000 to borrow for his evening gig. I asked for his address, which was then scribbled illegibly on a sticky note. I sent him some bits and pieces, and he was actually debating a move from Scotland to N.Y.C, so we linked up as soon as he touched dry land. I presented him ‘Zooted’ on our first meeting, he dug it, and then he put it out.”

Here’s the mandatory inane question: If you were pressed into a corner and forced to confess under great duress, how would you define the sounds/styles you’re currently making?
“Low attention span theatre, I would say… I’m always jumping around and bending genres together. What I would like to say, if asked, is that my style is simply ‘electrostep’.”

You’ve released stuff through Tresor, Serotonin, Scandinavia, Feinwerk, Input-Output Inc., and Neue Heimat. What’s your relationship been like with these labels?
“For the most part good. I have always, in my opinion, found the right homes for my compositions, and work with people I like personally, or simply stand behind the music.”

Biggest influences on your own music?
“Hearing random bits of music and not knowing who made what. Trying to avoid my soul being tainted.”

In the latter ’90s you, along with Cristian Vogel, Si Begg, Dave Tarrida, Subhead, Tube Jerk, Neil Landstrumm and Tobias Schmidt were basically life’s blood for me as a fan and DJ. What do you think of the “newer” guys coming through like Luke’s Anger, Ben Pest, and Donk Boys?
“I’m thrilled to see that this slightly experimental leftfield take on techno is kept alive by the newer producers.”

Which current crop of artists and labels are grabbing your attention, and why so?
“I honestly don’t pay too much attention to what’s coming out, or hip/cool for that matter. There are so many producers these days, and affordable, easy-to-use software has made it possible for anybody to piece together a track. I hear lots of brilliant work from unknown new producers on the Internet, but due to the mass amounts of producers, it would be impossible for me to say one small handful of artists and labels has grabbed my attention. The mind is overloaded from so much creative output.”

What new Bill Youngman releases can we look out for?
“I’m slowly working on a new album which will pretty much cover all of my styles and emotions. It has been a long time in the making, and will be a while before it’s ready. I never felt like I have finished a complete book; who is Bill Youngman? I’m always finding myself, and have been writing chapters of the story along the way.

“I’m overly critical about my own work and the bigger part of it stays in my home. I don’t release many of my compositions for the sake of simply putting them out. Every one of my releases has a true personal meaning for me. I’m not in a rush, but have a mixed plate cooking up in the kitchen.

“There will also be a new audible album on the way early next year. I’m feeling this at the moment. I’ve also been back on my metal guitar and have almost an album’s worth ready of weirdo electronic hardcore madness. I find joy in confusing myself!” (laughs)

You’ve worked extensively with Tobias Schmidt over the years – what’s happening in that department?
“Toby and I meet a couple times a year and work on bits for our live sets and tracks. We have a few releases worth of material ready to go, but it’s difficult to find the right home when the scene for our style of music barely exists. I would sometimes rather not put it all out than simply do it on a label that has no relevance – kind of like a painting that stays on your wall, you can enjoy it forever… but I certainly want to share with all. Maybe they will all end up in the great Internet museum. We are currently debating the next steps.”

(And now the pseudo-toughies…)

CDs seem to be a disappearing facet of the electronic music industry, and a fair amount of people are cutting back on vinyl production these days because they say it just doesn’t make back the money invested. How do you feel about this? Do you agree?
“CDs and players have become a fairly dead medium. The digital road makes audio simply easier and more obtainable. Vinyl is expensive and the latter part of
DJs I know have switched over to digital DJing. Vinyl is still special; you can’t beat the sound of of a hot cut, but at the same time the convenience of digital and mp3 has made it possible for the masses to create, produce, and share music. There are many positive and negative points, too many to get into.”

Is vinyl dead? Or just becoming more of a select option?
“It’s not dead. I appreciate the people who still press and buy vinyl. I love having an actual physical product in the hand – it’s such a joy to get a test-pressing back and wait for the finished release… every vinyl release is like a birthday present. I have seen a rise in small labels who have decided to do strictly vinyl and no option for digital, as well as artists/labels making special limited-edition vinyl runs. For me it’s like owning a piece of art, every vinyl is unique in its own way. If you really want to have the tracks, then you have to make an effort to find them.”

When we decided to switch some of the IF? Records back-catalogue to digital download, I got an anonymous email saying “You’ve sold you’re [sic] soul to the devil!!!” (I kid you not). So… have we…?
“As I said before, digital makes it possible for a wider audience to hear and obtain music on the whole. At the same time, there is no risk in releasing only digital music, making it harder to stand out in the pool of labels. Making vinyl from the heart and financial side are two separate issues. I love vinyl, but plan on releasing remastered versions of all my earlier works in a digital format. It’s an unobtainable idea for me to press a record of niche music, only to lose all the money put into the product and get nothing in return. I want the music to be available for all, no matter what the medium is.”

Do DJs really need to continue to use vinyl? Or can they instead construct entire sets out of stuff they’ve downloaded off the Internet?
“I’ve seen/heard people play sets on all mediums and platforms. I make the effort to bring gear to my shows as a live performer – I could just as easily play back pre-recorded material, but I have a very purist attitude about what my performance means. I have to satisfy myself, even if the bulk of the public doesn’t know the difference. They only listen, as they should.”

Have you heard any of the music coming out of Australia?
“Very little – would like to hear some more… Any tips?”

What do you think of the Japanese producers like Captain Funk, Toshiyuki Yasuda, Co-Fusion, HIFANA, DJ Warp, Shufflemaster, Merzbow, Alone Together, Gadget Cassette, et al? Do any of these people stand out for you, and why do you think the Japanese scene is so vibrant and charismatic?
“I know very little about these producers mentioned. I’m always interested to hear the sonic influence of different cultures – and again tips would be most appreciated. I’m fascinated about Japan and its people. I have yet to go, but looking forward to it someday in the near.”

What’s your day job – and is it fun? Does it foster your music output, or hamper it?
“I mostly work on my music, do some sound design, and beta test software the other half of the week. I really enjoy beta testing programs because it keeps me on the cutting edge of the software industry. At the same time, it can often be tough to switch back into music mode as one has spent the day using the same tools that would be used for work and production. I try to take at least one day off in the week from all sound/computer related activities.”

Lastly – how do you like your mushrooms cooked?
“I would need to know the type of mushroom first. In the next interview?” (laughs)

Care to add anything else?
“I will be taking over Serotonin Records. Jason and John have very little time to deal with the label due to their own endeavors. It would be a shame to see it die. There is a lot of meaning there for me, as it being my first musical home. Funny how life can take you full circle sometimes…”

“Oh, and send me some good sake… I’m getting thirsty over here in Berlin!”

- Interview by Andrez Bergen

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