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What influence do your architecture studies have on your works?
"I try to use a methodical process in constructing each release or project. The
physical appearance of each release is taken quite seriously as each color,
word or figure must have significance. It is easier for me to understand the
ramification of what I have to do if I understand each element of the
subject. This way, (in my mind) there will be solidity. "
At one end of the spectre you've got the anonymity of the Underground
Resistance-clan claiming that it's not the person but the music which is
important, at the other side you've got artists like yourself who claim
that in fact it is important to know the person behind the music. Being an
ex-member of UR, how come your point of view is so different from UR's?
"Through Evolution. Like life, who and what we are changes with time because
of influences, experiences and causes.
There is little shift in my stance, as you try to question it. The rules will
and endlessly change, but the agenda is consistent with the previous agenda
of UR."
What are your feelings towards the "Knight of the Jaguar"-scandal being
a part-time major artist (Sony, BMG-Ariola)?
"My feelings are the same as they were BEFORE the "Knights of the Jaquar"
scandal. To be clear on this point, a company does not have to be a major or
large corporation to screw you, small/independent companies are capable of
this too. How Sony Music-Germany conducted was/is nothing new. Every weekend,
you can go into a record shop and find similar and even worst copies of
records of the past. A even deeper truth, is that many artist today have made
their career foundation by copying/sampling others work and no one speaks out
(loudly) about this.
But I'm sure your readers are aware of this already. As a vehicle of
information to your readers, it is very important that you inform them of the
whole truth with parallel and UN-bias comments along with your article about
the "Sony/UR scandal".
For example: You asked this question to me not completely knowing my
relationship with Sony Music or BMG-Ariola. Your lack of awareness gives your
readers the idea or even fact that I am a "part-time major artist" on Sony or
BMG. In fact, I am neither. I have simply granted license of my music to
these companies for their specific territories for a certain length of time
(usually 3 years) i.e. Tresor/Germany, React/UK and many others."
How true are the rumors you're never going to DJ in the UK anymore? And
if so, then why?
"Very true. Again, it is a matter of racial profiling. Blacks, people from 3rd
world countries (including Americans) are plucked away in immigration process
entering the UK and their rights are violated. I myself have been routinely
detained numerous times for durations of 4-8 hours. Then, only to be
released without any explanation. I suppose this is the warning that I choose
to enter the UK, this is what I have to endure. So, I have decided that if I
cannot enter into/transfer through the UK like any other person, I choose not
to return to UK and keep my dignity in tack. The UK is not the only European
Country that practices this discrimination, its just the worst."
PM-009 features great jazz vocals. Is this the new direction for
Purpose Maker?
"Not really. The Purpose Maker label was initially devoted to presenting music
that is mostly useful on the dancefloor. I had always thought that its quite
sad that some the best compositions in music were being missed or ignored by
younger Techno people because they think vocals are a sign of being
commercial. What I tried to do was to present vocals in a different way to
make them digestible to our current Techno listener."
1999 saw the birth of your new label called Tomorrow. While we can say
that Axis became the label for your conceptual work and Purpose Maker for
the more DJ-orientated stuff, what will be Tomorrow's future?
""A better understanding of ourselves in the future" is the agenda for
Tomorrow. In theory and in practice. It is very challenging to create
material for this label because I'm basically shooting into the darkness.
Thus, having to rearrange my senses of perception. Instead of listening to
the music on tomorrow, I have relied on my post-mental feeling to conclude
whether the release is ready to go out to the listener. Each release is
viewed as one whole statement not, individual tracks."
For Lifelike you compiled some of your existing compositions who bare
the most character together with some new tunes. Which compositions from
other musicians would you have liked to put on an alternate version of
Lifelike?
"Lifelike was designed and composed of compositions solely from the Axis
label. This was the design. I'm not sure if I could have compiled this LP
using other musicians music because Lifelike is a reflection of my own
personality."
In the Lifelike-booklet you used a colour code as a result of a
discussion about colours on your website. What's the importance of internet
for you and for your creations?
"Through the Internet, my influences have been expanded. I'm finding that I'm
referring to it and what I find more and more.
I believe it is not always a reliable source and should be figured at face
value but, rather in an indirect manner of understanding. To gather a census
of a specific group of society."
Which new artists do you like and how do you see the evolution of
electronic music?
"Many. Everyone that contributes to Electronic Music by the way of
acknowledging it is instrumental for the progress. Regardless of the many
scales of importance."
http://www.kindamuzik.net/interview/jeff-mills/jeff-mills/421/
Meer Jeff Mills op KindaMuzik: http://www.kindamuzik.net/artiest/jeff-mills
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