Can you introduce SkinjoB to the readers?
Sure – 'SkinjoB' was started back in the early days of Nitzer Ebb, Front 242, FLA, NiN and Depeche Mode. It was formed by myself and an old friend of mine, Andy Manns, (however now it's just myself writing and producing). The name was from Ridley Scott's seminal movie 'Bladerunner'. We set out to produce 'post-modern industrial dance' which was basically the sort of club music you hear now however back in the early 90's that was very ahead of it's time, and unfortunately difficult (and expensive) to produce. We kind of knew what we wanted to do, but doing it proved to be unattainable as we simply couldn't afford studio time (or good synths and samplers!) The project went untouched for a few years but is now in active development.
SkinjoB started back in 1991 yet these days you seem to become more known in the underground, why not earlier on?
Quite simply because we never put anything out officially – we started writing 'Insects & Metaphors' and 'Move' back in the beginning, however we had no way to make them work or record them the way we wanted. We used to have rehearsals with a varied lineup (Keef Baker even rehearsed with us back in the day) and a variety of guitarists and drummers along with my computer, but computers back then were not so good (I used to use an old Commodore Amiga with Music-X for sequencing, and also an old Roland MC-50 sequencer). Samplers and expensive synths were simply out of our league as we were students at the time with no money. We only used to try real drummers because we couldn't afford a drum machine.
Andy wanted to concentrate on his computer game graphic design career and we agreed that the SkinjoB name and everything would fall to me. I myself had other things on my mind (being a member of several other bands at the time for a start – nobody you would have heard of ;) along with various jobs and so on, and so the project went lightly touched for some years; I always maintained a basic studio setup though, mainly because I am a pianist and keyboard player so I need to keep in practice.
Everything being complicated and time consuming! Firstly everything had to be done mostly live as the stuff I could do with the Amiga was extremely limited, so that meant travelling and when you are a student with no car, even that simple thing becomes incredibly difficult to arrange with equipment. In the times when we would book a rehearsal room somewhere (such as in Liverpool's famous 'Crash' rehearsal rooms) this would involve several people arranging to get lifts or buses with gear to and from the rehearsal space. Also there was the frustration of not being able to attain what we were ultimately aiming for. We used to have fun though it must be said – it was all good experience.
In over 15 years the music of SkinjoB has changed a lot, why did this happen, is it part of you growing up?
Partly, but a lot is due to the technology and production techniques available to me now. My home studio would have been unthinkable only five years ago let alone 15, and the stuff it is possible to do live now is simply phenomenal. I can write, arrange, record and produce tracks without needing to set foot into a pro-studio or pay anyone any money. Also when writing within a genre one is influenced by the other bands in the same genre. It's all very organic. Live I can use multiple software instruments on stage running from a laptop – this would have been the stuff of science fiction 15 years ago. I finally have the sound I wanted for 'Insects & Metaphors'...
It seems in these days everybody can get a laptop, software and make music, how do you feel about this? Is it good for music or bad?
I think anything that allows people to be creative is a good thing. Why should only people with money or the backing of a record label be allowed the privilege of being able to make music? Technology however can never be a substitute for genuine talent and creativity. There is a flip side to everything of course in which it can cheapen the hard work of genuine artists as you can end up with a situation where people think that just because they can get a laptop and some basic music software that does lots for them automatically that the artists also cheat which is typically not the case – it's one of those things where it sounds good on the surface, but when you actually sit down and try to make a good original track without using someone else's loops or samples and with good production and mastering you realise just how much time and skill is really needed, however that shouldn't put people off from trying as after all, new music has to come from somewhere. It is true that we have a lot more people making electronic music these days as it is within the means of many and that's a good thing, however it's also true that there is a lot of stuff that all sounds the same. The way I perceive the creative musical landscape is it's like the evolution of life – we have a swap filled with lots of basic life forms, but only a few develop and evolve past there and climb out to eventually fly. The swamp itself however provides the infrastructure and platform for the successful forms to initially develop. If that makes sense.
One huge issue with electronic music however is performance – it's all well and good being able to make good music on a laptop, however taking that on stage is where things can start to go wrong – not everyone wants to pay to see someone just standing behind a laptop on stage pushing buttons for example – you need to think about how you can make it interesting. For example, Soman is essentially a guy and a laptop, but he's great live firstly because his material is superb and everyone knows it, but also he looks good and has live dancing girls, and he really does enjoy himself on stage and it shows. That all contributes to a stage presence lacking in many. I saw him at Infest last year and the crowd literally went crazy. I'm not saying at all that there is anything wrong with just being someone and a laptop, I'm just saying that performance is important and should be taken as seriously as the music itself. People pay to see a show – if they just want to hear your music exactly the same as your CD then they can sit at home and play the CD. Make it interesting.
Making music changed alot as well in this period, what are the biggest changes for you?
Again, technology and communication. Let's take remixing for example – there was a time when if you were going to do a remix you would have to arrange access to the multi-track master tapes of a track and an appropriate tape machine to play them on along with time in a suitable studio to be able to work on it. This involves a lot of time and expense, which meant that it was only something signed artists with the resources and backing of a label behind them were able to do. These days remix kits are downloaded via the internet straight into a digital audio workstation (or laptop) where they can be analysed and reworked. Also we have software sequencers, samplers, synths and instruments now, which means for example a reasonably powerful laptop and appropriate software is all you need to make a track. No technology can replace ideas, skills or creativity however, but it can remove barriers to working. It's no good having a lot of talent if you cannot apply it.
Remixing can be a lot of fun and can be very satisfying but can also be a lot of hard work. KiEw I met at Infest when they played there (I think it was 2005) where I was interviewing them for The Miss Jinny Radio Show (www.missjinny.com). Thedi (main guy from KiEw) is a really nice guy and also a huge music fan with a wide taste in music and when I asked about the possibility of remixing KiEw he agreed to send me a remix kit for one of their tracks. The track was 'Gabriel' from their Audiotherapy album; it was the first serious remix I'd done and I remember wondering what to do with it. I submitted my initial idea to Thedi who loved it so I provided a final version. The next thing I knew it was track four on the KiEW 'Exit #72' EP and being singled out on the Metropolis website as a 'dancefloor killer'. Took me by surprise really. Exit #72 reached 11 in the DAC charts. My remix also appeared on the Darkflower II compilation late last year along side big names like VNV Nation and Hocico and I felt honoured to be on the same CD with such big names.
The XPQ-21 remixes I was put onto by Mark our drummer who spotted they were having a remix competition. I contacted them and asked for the remix kits – I was sent kits for five tracks, one of which was 'Beautiful'. Something I have to explain is the track 'Beautiful' by XPQ-21 is one of my favourite tracks of all time and for me, a relative nobody, to be given this track to remix was a milestone in my career. They asked me what remix I had chosen as they were planning out the 'Alive!' album and I said 'Beautiful' but apparently everyone else was remixing that (which was unsurprising as it's a great track) and it was suggested I did 'Rockin' Silver Knight' instead. I explained that I had a dilemma in that I really wanted to remix 'Beautiful' and I had started on an idea, but I should also do Rockin' Silver Knight so the only solution was to do two remixes. 'Only if they are good!' was the reply. 'Ha ha! Of course they will be good!' I sent back, then sat with my head in my hands for a while thinking 'what have I just agreed to??' I concentrated on Rockin' Silver Knight (which was the remix included on the DJ promo CD – it reached 9 in the DAC chart) but must confess I rushed 'Beautiful' and I wasn't happy with the final result but deadlines are deadlines.
I received word that I had won the remix competition (twice!) and they used them both on the album but I wish I'd had more time to work on them. (In the end there were five RSN remixes and only two Beautiful remixes – mine and Funker Vogt - used on the album.)
Coincidentally I received the news I'd won while in Lueneburg (Germany) for the '15 Years of KiEw' concert, and walked out of my hotel room bumping into Ronan Harris and Daniel Myer. Daniel Myer of course has the 'Haujobb' project (which in German is a play on words for 'Skinjob'). Small world.
Since then I've done quite a few remixes and turned down a lot more as I'm trying to concentrate on the album.
Who would you love to do a remix for SkinjoB?
VNV Nation, Combichrist, Rotersand and Grendel. VNV will probably never happen as Ronan seems to be perpetually busy, however I have a great respect for his music. Combichrist – not approached him yet. Grendel and Rotersand I am in talks with.
I suppose anything emotive really – 'Insects' and 'Move' are both about religious extremism and terrorism. The funny thing is the first verses of both tracks were actually written back in the early 90's but you would be forgiven for thinking they were written recently about recent events. I guess nothing really changes. 'Beauty Is Your Toy' is about the type of very beautiful but mean girls that torment you, but given the chance you would still pursue them despite your maybe better judgement. 'Control' (unreleased) is about increasing government interference in the lives of the population. I will write about anything that pops into my head really – the better tracks you will get to hear but for every good track there are a dozen failed ideas.
How do you transform the ideas that pop up in your mind into lyrics and music, is it a hard process for you?
'It depends'. It's not uncommon for me to wake up early with a tune or lyrics in my head which I will try to get down in the studio even if it's just me humming or singing nonsense just to get the idea down. (I often worry that I'll die and someone will go through my files and hear me singing gibberish and think 'whoah... nutcase..!' so sometimes I'll record explanations - lol). I must have over a hundred tracks like that at the moment in the studio computer and my laptop, just snippets of ideas and hooks. Sometimes I'm just inspired and everything flows in only a few hours or an afternoon, other times it's difficult making something work. It's hard to describe but you can bash away at an idea for weeks and not get very far then suddenly something clicks in your head and you just get the sound or idea you wanted out and it becomes viable. It can be hard but it can sometimes be relatively easy but it's always rewarding.
SkinjoB has a live line-up, can you introduce the other members and how did you meet them?
Sure – firstly there is our keyboard player Susana Duende. Susana was actually introduced to me by Grendel's sound guy as she had recently moved to Manchester from London and didn't know anyone in the scene and could I introduce her. We got on great and I found out that she was keyboard player for Greenhaus. I was looking for a keyboard player and it was one of those lucky breaks that just works out. She's a trained pianist and adds a lot to the live sound. The best part is I can simply email her PDF files of the musical notation for her live parts and she can just play them.
Mark (aka Gus) our live drummer is a guy I know from Manchester's main goth club 'The Underworld' where he works as a DJ. I found out he was a drummer and used to joke with him about playing live with me – one night he said ok so we set up some rehearsals and it turned out that not only did the live set sound great with live drums, but he's also a fantastic live drummer. He's a very busy man (he's Lacuna Coil's stage manager amongst other things) and so when he's not jet-setting off to Japan and Australia with other bands he plays live with us. The show works with or without live drums, but live drums definitely add to the sound and stage presence.
To hopefully dance a lot and be entertained! We do a lot live, and with Mark we have the live drums which adds a lot to the live sound, but even without we sound good. I try to put as much energy as possible into my live performance and the show and so far all the feedback has been great. I take live shows very seriously and plan each show individually according to the event and audience.
When can people expect an album of SkinjoB?
The album is planned for 2008. Hopefully it will be ready in time for our show at Summer Darkness. I have enough tracks, I just need to decide on the final track list and get them recorded and produced. I am currently in talks with labels.
Can you tell us a bit more about the album?
I am hoping to have the album ready in time for August 2008, but who knows – maybe sooner if things work out, maybe later if they don't but don't hold me to that... I have not decided on the final title yet but I have three or four ideas that I am considering. This will be our first full length album and I'm definitely not aiming for an album of generic dance tracks that all sound the same like seems to be quite common these days so expect to hear some varied material, but there will be a heavy EBM influence throughout. The previous EP 'Insects & Metaphors' sold out and had great feedback and reviews so it seems like people like what we do, so if we can make the album even better then we will see what happens. It's a lot of hard work that's for sure. There does seem to be a basic concept running through the tracks I have, and that will probably influence the title and even the material at this stage... lots of it is still in the air at the moment, but there will definitely be a few club tracks on there.
Last year you visited summer darkness and this year you will play at the festival, how does it make you feel?
Very privileged. I had a lot of fun last year and met a lot of great people and Summer Darkness is a great event. To be playing the same event as some of the bands I hold in great regard this year is fantastic and we are really looking forward to it.
The pictures that are used in this interview are made by Disturbing.org.uk and by_nigel@spowage.info