Jeff Mills
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This article was written by Cyclone. Australias leading Electronic Music
journalist.
Jeff Mills
is perhaps the most inscrutable figure to emerge from Detroit's remarkable
circle of techno DJ/artists. And yet his influence on the international
electronic music culture is pervasive. He is acclaimed for his work as a
member of Underground Resistance, together with those releases on his labels,
Axis and Purpose Maker. Since Mills rarely speaks to music journalists,
we put the suggestion of a facsimile interview to him. The idea clearly
appealed - and not just for the obvious reason of his being able to wield
control over the way "Jeff Mills" is represented in the music
press. Indeed, here is an individual who seems to revel in the creative
and intellectual opportunities of multi-media - the fax included! And so,
where many other written interviews fall into an abrupt formula (yes, no,
pass...), Mills offers some enlightening responses...
Q: To coincide with the release of The Purpose Maker album, you held a photographic
exhibition in some cities, with images of different parts of your body.
What was the idea behind this and, more specifically, what did you want
people to get from it?
A: ”The Purpose Maker Exhibition supported the LP as well as the image
and promotional direction in which I plan to take the label, Purpose Maker.
The occurrence of miscommunication as a result of the lack of knowledge
to fully understand languages fluently has prevented me from exploring opportunities
in the past. I felt displaying images could be the start (for me) to use
other vehicles within Art to communicate concepts. Ideally, the exhibition
would give the viewers an extra sense or tool in which he/she could identify
and describe with. The theme of this exhibition is the physical aspects
of the person known as "The DJ". The hands, ears, arms and fingers
were parts of the body that I felt were the most important and that should
be displayed in a manner where each part stands alone. These are the parts
that physically make the music happen. The exhibition was not a collection
of images of Jeff Mills, but of a DJ.”
Q: Derrick May once (memorably!) said, "I really think Jeff Mills'
music is outstanding. It's so raw and ugly, and so funky and sexy. It's
like some raw, ugly, funky, sexy woman." How would you describe it?
A: ”Describing my music is very difficult. It's hard for me to consider
all that I have made in a collective. The thing I can say is some of the
music is methodically inspired by artists and people like Derrick May. The
more I learn and experience, the more I am inspired to tell or show.”
Q: There has obviously always been a strong intellectual, and even socio-political,
component to Detroit techno - and it's clear that this aspect is important
to you. Do you feel that this side has to an extent been lost with the globalisation
of the music and rave culture?
A: ”No, I've always understood the fact that everything in music is
good. A person's expression is just that - his/her expression. The differences
lie within the person(s) receiving not giving. To say that there is only
one way we should all conform is invalid. For example, to sustain point
"A" there must be a "B". If we fail to accept the differences,
then we can not move forward.”
Q: Your music is hard, minimalist and forceful, and yet many in the scene
see you as a quiet, reflective and reserved man. Are there certain aspects
of your personality that you find easier to express through music, whether
as a DJ or producer?
A: ”Since I have been DJing for the better half of my life, it might
be safe to say that my personality is a result of [my] past and influences.
I've always felt compelled to explain things. And not just in one perspective
but as many as I can rationalise. I've learned that actions speak much louder
and the average mind is much more complex than it actually realises. Why
I am "quiet, reflective and reserved", you might have to ask my
parents or someone who has known me for a long time.”
Q: In an interview I read recently in Mixmag, you were talking about how
you like minimalist music, because it allows listeners to, "project
more of their own imagination onto whatever it is they're listening to."
You also said that, "We've still a long way to go before we run out
of territory to explore." Do you have any territories in mind? Where
do you see your music heading?
A: ”I would have to assume that there will be some form of backlash
[to] or diversion from Minimalism. Not because people do not like it, but
because mentally it's time to move on. With the shifting of generations,
a dominant demograph of youth will decide what is "in" and what
is "out". This will only be completely valid within their trend,
for others like you and me we'll still recognise. Predicting where we are
headed is not important. Making sure that the next generation has reference
that they can refer to is very important. Minimal Techno, Detroit Techno,
Trance, etc is the result of this cycle or circulating pool of ideas.”
Q: How would you gauge your influence today within the context of Detroit's
wide techno culture?
A: ”It is not possible for me to answer this because I cannot speak
for Techno Culture, only myself. For me, I am very happy when I see signs
that someone has listened to what I had to say. This is a sign that our
system of communication works. It inspires me to say or create more.”
Q: Various members of the Detroit electronic music community are thinking
up different ways to promote the music in its spiritual home - one being
the club that Derrick, Kevin Saunderson, Kenny Larkin and Carl Craig are
planning, and another Juan Atkins' record store. What do you think of these
kinds of strategies?
A: ”Any plan or strategies are great. With the massive collective experience
that they all have, it will be a success. Whether their efforts will jolt
the US is an active position in Techno Culture, I do not know, but Detroit
will be happening!”
Q: Why
do you think there are so few women spinning - or making - techno (and none
that I know of in Detroit circles)?
A: ”Kelli Hand has been active in the Detroit Techno scene for quite
some time. Thus far, Techno DJs and producers is a male dominated field.
To change this, perhaps it will take a woman or a few women to create something
new and exciting. This culture is pretty much faceless (which is probably
why you did not recognise Kelli). So a person's appearance and personality
can sometimes be transcribed into sound.”
Q: Ironically, US hip-hop acts are now hooking up with the UK's electronica
artists - such as Public Enemy and the Prodigy and Chemical Brothers, or
the Jungle Brothers and The Propellerheads. Given your hip-hop roots, would
you ever consider such a collaboration to raise the profile of America's
own electronic innovators, if nothing else?
A: ”No, I believe Techno has enough identity where the Hip-Hop/Techno
association is not necessary. If UK Electronica Artists need to do this
to be able to break themselves into the US market, it should give you some
indication of how difficult this country is when accepting Techno Music.
I suppose it's a matter of methods. By keeping the music alive and progressing
forward, sooner or later a voiceful generation of US youth will yearn for
something new.”
Q: Have you heard much electronic music from Australia? Has anything left
an impression?
A: ”Information from Australia is very difficult to get here. But every
time that I have toured Australia, the impression was long lasting. Unfortunately,
I have not had many opportunities to talk to many people while being there.
I've always heard that Australians are extremely nice. Hopefully, this time
there will be more time to do such things.”
Used courtesy Play (Beat) magazine Melbourne, Australia.
as UNDERGROUND RESISTANCE
with Mike Banks
Sonic EP, 12 (Underground Resistance)
Your Time Is Up - Yolanda (Underground Resistance)
Riot EP, 12" (Underground Resistance)
The Punisher, 12" (Underground Resistance)
X101 - Sonic Destroyer, 12" (Underground Resistance)
World to World, 12" (Underground Resistance)
Galaxy to Galaxy, 12" (Underground Resistance)
Elimination/Gamma Ray, 12" (Underground Resistance)
Revolution for Change, CD/2LP (Network)
Seawolf, 12" (Underground Resistance/WPA)
Living For The Night - Yolanda, 12" (Underground Resistance)
The Final Frontier, 12" (Underground Resistance)
Waveform, 12" (Underground Resistance)
The Fury, 12" (Underground Resistance)
X-102 - Rongs Of Saturn, CD/2LP (Tresor)
as JEFF MILLS & PURPOSE MAKER
Psycho Thrill EP, 12" (Purpose Maker)
Skin Deep EP, 12" (Purpose Maker)
Tomorrow, 12" (Axis)
Vanishing Act EP, 12" (Purpose Maker)
Purposemaker Live Series, 12" (Purpose Maker)
Time Machine, CD (Tomorrow)
Inner Life, 12" (React)
Mix up Vol.2, 12" (Sony Music Entertainment (Japan))
Waveform Transmission Vol. 1, 2x12"/CD (Tresor)
Waveform Transmission Vol. 3, 2x12"/CD (Tresor)
Berlin, 12" (Pow Wow Trance)
Growth, 12" (Axis)
Cycle 30, 12" (Axis)
Confidentials 5-8, 12" (Axis)
The Purpose Maker, 12" (Axis)
Purpose Maker Compilation, CD (Purpose Maker)
Very EP, 12" (Axis)
The Dancer / Java, 12" (Purpose Maker)
Shifty Disco EP, 12" (Gigolo Records)
Mix-Up Vol. 2, CD (Sony Techno (S3))
Axis 009, 2x12" (Axis)
Live at The Liquid Room - Tokyo, CD (React)
The Other Day EP, 12" (Axis)
More Drama, 12" (Axis)
Force Universelle EP, 12" (Purpose Maker)
Kat Moda EP, 12" (Purpose Maker)
Our Man In Havana, 12" (Purpose Maker)
Steampit EP, 12" (Purpose Maker)
The Other Day, CD (Sony Techno (S3))
Purposemaker Compliation, CD (React)
The Extremist, 12" (Tresor)
Purpose Maker Collection, CD (Neuton)
If, 12" (Purpose Maker)
Apollo EP, 12" (Axis)
Preview, 12" (Tomorrow)
Metropolis, CD (Tresor)
Circus, 12" (Purpose Maker)
Metropolis, 12" (Axis)
Lifelike EP, 12" (Axis)
Lifelike - Axis Compilation Vol. 2, CD (Music Man)
Lifelike E.P., 12" (Music Man)
Metropolis 2, 12" (Tresor)
Jet Set, 12" (Purpose Maker)
The Art Of Connecting, CD (Nextera/Hardware)
4 Art, 12" (Axis)
Every Dog Has Its Day, CD (Music Man)
The Electrical Experience, 12" (Purpose Maker)
AX-009 Series A/B, 2x12" (Axis)
Axis 9C & D, 2x12" (Axis)
Late Night, 12" (Tresor)
www.axisrecords.com