Jeff Mills

FUTURE UPwith JEFF MILLS Interview by Marianne Jacquet Photo by Yoko Uozumi Jeff Mills is a visionary artist from Detroit born in 1963 and a legend of the electronic music scene. Together with Juan Atkins, Derrick Mau and Kevin Sanderson, he contributed to build what became Techno Music. Following his creative instinct for more than 2 decades, Mills has explored the dimensions of sound far beyond the club culture. His career is an example of artistic freedom and ethics. It is hard not to mention his involvement with the collective, Underground Resistance, that set the techno music free from social discriminations and distributed the sound of Detroit all around the world. Since 1992, Jeff Mills is releasing his music, Cine-Mix and film productions on his label Axis records. The constant appetite for the future and novelty of this former student in Architecture lead Jeff Mills to break with the patterns of music genres and art conventions. Answering to the invitation of the Louvres in Paris, Jeff Mills succeeded in ennobling techno music alongside the pianist Mikhaïl Rudy with whom he performed « When Time Splits » in front of the psychedelic masterpiece film « l’Enfer » of Henri-Georges Clouzot Jeff is presenting, on September 25th, a second opus of the « Exhibitionist 2 », a DVD and record but above all an opportunity to enter the maestro’s mind and the core of the machine. Mills explains to us his vision on his artistic and scientific collaborations starting now - FUTURE UP!

Beside the incredible fascination of watching the artist in motion whilst creating, the Exhibitionist 2 has a strong didactic aspect, is it a desire to present Techno music as a more accessible medium to a larger public?

Yes, exactly. My objective is to show the creative process from beginning to end and how everything is pulled together in the form that most people here it. The “track” or the “mix” I think by showing this will allow for a better understanding, and hopefully, a better appreciation of the art form and genre.

Interview Opening track: Terry Riley by Africa Express

The diversity of your work, is close to a researcher, always out framing to another environment, your approach to music is almost anthropological. Have you ever wished to quit music for physics?

No, I’m quite occupied with trying to figure out how to describe things through Music. It’s more than a full time job! I think that the usage of translating subjects of certain relevant topics gives more value to the purpose of music. If we can do more with music, then as societies, we’ll might consider music more seriously, rather than always for entertainment. If we can all agree that we need music, then it’ll be around for as long as possible.

Do you think that it is a duty to educate and communicate on a more intellectual level and to ennoble Techno music?

Yes. I also believe that producer have a certain amount of responsibility to try and bring something new to their listeners. That, at some point in the course of their careers and work, an effort to go beyond what is expected should be normal. They should feel free to do that and not confined by the opinions of the public and media.

You have built in your career a bridge between the club scene and its industrial background and some of the most respected cultural institutions, are you fighting the dichotomy between these two worlds are embracing it?

I have no problems working at both levels. In fact, I’m learning a great deal from other ones and applying it to the other. These new experiences are shaping the way I perceive and what I strongly believe to be of substance. As an artists, I could not asked for anything more than this.

When you are improvising on your instrument, is it the same mindset that drives you when you are performing on a film score?

No, it’s different. Improvising is an immediate psychological response. A gesture based on how I feel or that I’m convinced I could accentuate by doing a particular thing at that precise second or moment. In scoring film and the way I manage it, I first memorize the film and mostly compose off of my memories of certain scenes. Then, I’ll watch the film and measure the length and duration of the Music in order to make them fit into each part or scene.

How do you sync with other humans and other machines?

In Classical performances, synchronization is managed when the conductor and musicians hear a click or pulse sound that’s being created and generated by my drum

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machine. In djing and applying the drum machine to records or tracks, that’s done manually by hand. Meaning, that the drum machine is layered on top of existing music manually. No sync is connected. It’s very interesting to do this because each sound source can have their own tempo and scale (from not being synced together).

The set up of your studio in the Exhibitionist 2 is quite minimalistic, would you say that « Less is More » but is vintage the key or do you like to mix all type of technologies?

I really prefer to use as few machines and equipment as possible to make tracks. Having to consider using them more wisely, more strategically. In this mind-set, less is certainly more, but not by for the sake of making Minimal Music, but rather because I often feel more sound simply isn’t needed or I can’t imagine more than that (at that moment). The minimal setting of the scenes in Exhibitionist 2 was thoroughly thought about and discussed. What I wanted to do was to either showing a lot of things or nothing at all. In showing nothing, I want the viewers to only concentrate of what’s there because everything in the frame is for a reason.

Do you still surprise yourself on a TR 909?

Yes, there are things that can happen, or should I say, ways I can get stuck with situations that I have to figure a positive way out of. In all of the drum machine segments, I’m only using 1 - 4/4 time signature pattern. Changing, writing/erasing throughout the segment, but the machine is much more capable than that. In most of the scenes, I’m writing instrument patterns while playing others at the same time.

You describe the musical process as a «concept in progress», it is the development in time of ideas. Is it why you are multiplying the film music performances?

Yes, that’s correct. I do not know the exact term for what I’m doing by encompassing all my actions into one swift movement (even career wise), but to me, it all seems connected to one another - film, dance, cinema, djing, music production, etc. There is no real distinction between them anymore. There are different approaches of the same thing in the DVD. Programming music is the same as making it. Being spontaneous in both situation creates the same result.

Is the video format more attractive than a painting or a still picture?

Each person should decide that, but I prefer still photographic images more than anything. There is the limitation and what this does to the viewer’s mind that I think is more important that revealing the whole passage of preserved reality. We do not exist and live in stillness, which is why I think it’s so unique - so special.

You have closely worked around the op art and the kinetic light sculptures of Vasarely when you performed « When Time Splits » and « Chronicles of Possible Worlds ». You more recently created an exhibition “WEAPONS A small but potent collection of music affiliated avant-garde objects”, would you consider you curating work as a psychedelic experience?

Well, I would consider them more like psychedelic questions on topics that do not really need an answer. Sometimes, I think the only thing that could ruin a great idea is a comment from someone else. So, I try to approach this type of work in a way that takes to aspect of knowing how people feel from experiencing it - that the projection of the work is one way only. There is a certain amount of freedom by doing this and I think its plays out in the way the projects are created. The Weapons show was exactly this case. I was told that a concept like this would not work. A small show of art and artifacts that included music, clothing, and many other things – where the atmosphere was just as important as the items themselves. Nothing in the show tried to convince anyone of anything. It was just there in Tokyo for only 4 hours on 1 day.

Watching your mix skills and your hand choreography in the «Exhibitionist 2 » is fascinating, it could be compared to a pianist passion and paradoxically doesn’t it also demystifies your persona?

Yes, and this was the purpose of showing it as closely as possible. To normalize it so others may understand and expand upon it. Music needs a constant flow of free thinkers and doers. I believe this is the fastest way to improve and enrich the art form of Music.

You have contributed to the rise of a movement and a culture as an artist and as a label,as a curator, can we say that you have become its philosopher?

No, I’m just someone who deeply believes that music can enhance people’s lives. That, it can make them us realize things in ways where words cannot. I take it very seriously because I realize that people are giving their attention and spending there time and money to have something special. They can always be somewhere else, doing something else.

What would be the best track to fade out this interview?

Gil Scott Heron - The Revolution Will Not Be Televised.

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Ebony BONES

108 Interview by Nicola Phillips Photography by Kiko Dionisio

From starting her own record label, to touring with iconic punk outfit The Slits, Ebony Bones is not interested in following the crowd. The BritishCaribbean singer-songwriter has already built up an impressive résumé in the last few years – and has come a long way from her hometown of Brixton, South London. Influenced by an eclectic mix of post punk, old-school afro-beats and open minded production methods, Ebony’s music goes hand in hand with her killer sense of style, fearless attitude and outspoken attitude towards breaking down boundaries in the modern music industry.

You’ve visited Berlin a few times this year, how have you found it? Has it lived up to your expectations?

Berlin is beautiful and definitely currently flying the flag as the cultural center of Europe. It’s nice spending time and playing here as my dad lived in Berlin during the 60s.

Where are you from originally? What was it like growing up there? Was it a place surrounded by music?

I was born in London and grew up in Brixton where my dad had a small vinyl stall selling music. Music has always served as a soundtrack to my life

Were there any artists or producers at this time that really stood out to you?

I recall loving everything from The Sex Pistols to Parliament, Siouxsie Sioux to Grace Jones. But I was particularly interested in producers, such as Nile Rodgers and Brian Eno.

What was it like when you first started producing your own music? Did you find it difficult? Do any boundaries exist?

I think it’s important not to consider boundaries, but to step outside the circumference of what people expect you to be in life. Be your own hero. I’m still growing as a producer and feel honored anyone cares about my journey.

Who was the first person you worked with? Are you self taught or did you receive training? What’s the most exciting part of producing your own music? Is there a certain key element you can’t do without?

I first collaborated alongside drummer Rat Scabies from The Damned and went on tour with bands like The Slits. Originally I trained as an actress which I wasn’t that great at, after a while I realised I just wasn’t very good at taking directions. Music represented liberty to me, something I think most artist can’t live without.

Does the name Bones refer to “the bare bones”? Is what we see, what we get?

Rat Scabies named me Bones. It’s also the name of an Irish musical instrument, so I’ve heard

What was it that drove you to record ‘Behold, a Pale Horse’ in India?

I had the opportunity to work with members of The Symphony Orchestra of India, which I couldn’t turn down. However parts of the album were also record in London for my Smiths cover of ‘What Difference Does It Make’ alongside The New London Children’s Choir.

What was it like working with an orchestra? Did you learn any valuable lessons?

I learnt that some of the most amazing string musicians in the world are living in India, I just adore the culture clash and cross pollination of two different sounds coming together.

You have a new EP coming out, ‘Milk and Honey Part 1’, where was this recorded? Can we expect any surprise collaborations on the album?

Very excited about the EP which features the amazing Lady Miss Kier of DeeLite. The EP was recorded in London and New York.

Will the album be a start to a new series?

Not sure I’m still working on it, but sounds amazing so far.

What was it like filming your new video for ‘Oh Promised Land’?

I think the hardest thing for artists isn’t making the art, it’s getting it out once it’s completed. The actual shoot was a lot of fun and features friends and members of my label 1984.

What’s it like being involved in Ray Ban’s Campagin4Life? I saw the clip with The Russians, do you think it’s important to “mix up tradition”?

It was an honour to produce the soundtrack for Ray Ban’s new campaign, even nicer that they asked me to be in it. Tradition has never appealed to me personally, so “mixing” it up seemed appropriate and in line with my ethos artistically.

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What was your first live performance like? Will that moment of anticipation will ever subside?

I’m always nervous before I go on stage. Music is perhaps one of the only things that has the power to galvanize people. Music and perhaps sport.

Name a song or an artist that you could always listen to, no matter what mood you’re in.

Maybe the B-52s, maybe Public Enemy, maybe The Smiths, depends on the day of the week.

What is your ultimate karaoke song?

Ebony & Ivory by Paul McCartney and Stevie Wonder.

Did you ever think you’d be where you are today?

No not really, partly due to the deficit of female producers in the industry, it just didn’t seem like a realistic aspiration.

What would you say to an aspiring music producer?

It’s always good to be underestimated, you can’t lose.

What’s next?

Next year I have a collaboration with Yoko Ono.

Pick Ebony’s bones at www.iamebonybones.com