Wise words from Weinberg

Most techno producers seem to want to gravitate towards Berlin, the Mecca of all things technoid, but not native German Arne Weinberg, a man who has built up an impressive musical CV for himself in the last decade. He has set up shop in Scotland, Glasgow to be precise, for the last couple of years, eschewing what his own country has to offer. He is a musician who goes his own way and is not adversely influenced by trends. 2009 was a major year for Weinberg, as it saw the end of his own label, AW-Recordings, and the birth of a new one, Diametric. 2010 promises to be an exciting and productive one for the 30-something Weinberg. Here, he talks about his recent past and what the future may hold for him.

And, oh yeah – merry freaking New Year to everyone out there from ISM!

ISM: How was 2009 for you?

2009 was an interesting year with lots of changes for me. Privately, everything was good. We enjoyed our summer here in Scotland and made some amazing trips around the country. Music-wise, a lot of things happened. First of all the defunction of my label AW-Recordings, the setup of the new label Diametric, which was a success so far and the change of distribution. I also started to use some software in the studio, which influenced my music a lot, I have to say. I am enjoying the possibility of using the best of both worlds, hardware and software now, and it is amazing. Another big thing for me this year was the start of my liveset. I played a handful of gigs and it turned out really well. I hope 2010 will bring some more possibilities in in that direction.

ISM: Yes, the demise of AW-Recordings must have been hard, especially as it had built up such a high profile in the scene in such a short period of time, and seemed like a deep techno label that could be relied on. Could you tells us more about what happened?

The main reason was that I was missing the joy and fun that the label was based on in the beginning. After the Convextion 12″ it became a serious business and suddenly I found myself thinking too much about sales figures and marketing strategies rather than simply releasing music I love. I was aware of namedropping and about remixers to make sure the sales would go up. As we all know, the sales are going down, more and more, and the way the label was setup (mastering, real fancy artwork, colored vinyl) meant the manufacturing costs were too high.

So something had to happen and I realised that I actually couldn’t go back to the old, passionate early days without changing the label profile drastically. As I’m still proud and happy with the legacy, I decided to stop it as long as it had the right reputation.

With Diametric. the approach is simpler and due to some changes the costs are lower. No matter what name will appear on that label, I will not do more than 300 copies, even if it might sell a lot more. That allows me to keep my head clear and not to think like a business person.

Another point surely was the fact that AW-Recordings was just one of many labels for Clone distribution. A specialised label needs more attention and care than a big distribution can provide.
To make it short, I am glad I did this and I am armed and ready with Diametric. for the future.

ISM: So you’ve returned to how you started AW-Recordings, vinyl only and a limited number of copies. How is the first release by Optic Nerve (aka Keith Tucker) being received? And what do you have in store for us with the new label in 2010?

The first 12″ by Optic Nerve was received really good, actually. Lots of people seemed to feel the vibe and message of Diametric – and especially Keith Tucker. I think that the ‘Origins’ track almost is some sort of hymn for real techno, like Keith says in the tune “T – E – C – H – N – O”, that’s a straight forward message and people like that…

The next Diametric. 12″ is in the pipeline now, release in late February. It’s from Tangula, a new project by an artist who wants to stay anonymous for this project but has done quite a lot of releases already. The sound is as you would expect – deep, melodic techno with balls. I guess people would call it Detroit-orientated, even though the artist is not from Detroit and I don’t like that term too much to be honest. The 12″ will be limited to 300 copies again and more details will be available soon on the label homepage and on myspace etc.

The third release on the label will be a CD-R album by Onmutu Mechanicks, my side project. It is a full album with more experimental listening orientated stuff. Limited run of 150 copies only with some nice artwork, all homemade…. That’s all for the moment even though I am talking with Legowelt about a 12″ release from him but there is nothing confirmed yet.

ISM: Sounds great. Is it true that you are going to be releasing material on the revamped Transmat?

Well, yes, it looks as if this is going to happen, which is obviously a dream come true for me. Transmat is still one of the most influential labels for me and I feel very very honoured that Derrick May likes my music and wants to release some of my stuff on Transmat. I still have no confirmative contracts and also there is no schedule about the releases but I hope it will work out. I have nothing to loose. Knowing that Derrick actually listens to my music and likes it is already such an achievement for me that I never would have expected.

ISM: That is marvellous news. Can’t wait for that to happen. Mr May has been on the receiving end of some serious criticism (on this blog, for instance) for the way he has relaunched the label and the quality of the first release. Do you think you’ll feel under any extra pressure recording for such a label that people have such high expectations of?

No, I don’t feel any pressure. I still do my thing, no matter what people think. I know a lot of people say that my music is oldschool and that there are not much new elements in my music. I don’t see anything wrong in keeping traditions alive and for me in the end all that counts is music that touches people. I consider techno and electronic music far more than dance music. The club aspect in electronic music for me personally is the boring factor and I actually never think about a dancefloor when I do music.

The tracks that Derrick May received from me are pure Arne Weinberg stuff. So if that Transmat thing will be released, people will get what they should expect from me.

As for the criticsm against Derrick and the first release I can understand where it comes from but I personally think that Transmat should be allowed to release a wide spectrum of music. The first release might not have been a classic Transmat release but it is just how Techno 2009/2010 sounds. I don’t see anything wrong with it. I think it is important that Transmat will release the stuff on vinyl as promised, otherwise it might be a little bit dodgy.

Overall, I think the witchhunting in the internet is ridiculous. But to come back to your question – no, I don’t feel any pressure. If people like my music, then I’m happy and if not, fair enough, I don’t like all music I come across… it’s always a question of taste.

ISM: Electronic/dance music always seems to have to embrace a ‘new sound’, which is pushed forward as being cutting-edge and a way of pushing music in a new direction (case in point, the amalgamation of dubstep and techno). Do you think this is a healthy approach or do you consider it just bandwagon jumping?

Electronic music always has to be futuristic and progressive and new. Who dictates that? That is one of the things that annoys me very much about the electronic music scene. Of course, progress is important and I welcome things like dubstep, because dubstep, for example, is one of the few new sounds that I actually think is really good.

But why is it wrong to keep up traditions and pay respect to the early sounds and the originators? Very often writers or reviewers think they need to tell everybody a record is not as good because it sounds dated to their ears. To me, that’s utter bullshit. Music can’t be good or bad because it sounds old or new. You have this phenomena only in electronic music, especially in techno. If today a new young indie band will rise up and they will sound like Led Zeppelin everybody in the media will write that they are the new hot shit. Why is that not allowed in techno?

Even more annoying is the fact that most of the people complaining about slow progress in electronic music are too young to even know the roots. Pay respect to the roots! Without them there would be no minimal, UK funky, dubstep and all that other stuff.

ISM: Is going out and DJing still as important to you?

I enjoy going out here in Glasgow. A lot of good parties, especially the smaller ones are great. But I pick out the highlights and don’t have to go out every weekend necessarily.
I still like deejaying but the live playing is much more fun and more satisfying to me.

ISM: What’s your set-up for playing live? is the typical software and contoller template that most performers favour?

Yes, it is…. at least for now…. A liveact should be a real thing with lots of synths and drum machines and you create the music on the fly but first of all I really don’t want to take out my gear to any gigs, too dangerous and also travelling would be really hardcore, and secondly if we are all honest, techno is no livemusic anyways. A real live gig would be a band playing together like Galaxy 2 Galaxy are doing it. So I see the whole thing more as a performance of my own music rather than a real live gig. In the end all that matters is if people like the music that you play or not.

I use Ableton and a controller and the whole arrangement is done on scratch during the set. So I have lots and lots of recorded stuff like drumloops and synthlines that I re-arrange during the set, plus creating the effects….
I want to use at least a few machines in the future like my 606 or some Electribes I have….

ISM: Do you think this has been a good year for techno/house, have you been buying much in the way of music? Are there any other artists out there that you love to work with or remix?

I have not bought that much music this year, at least electronic music. For my personal taste there were not as many good releases in 2009. What I think was good about 2009 was the return of “real” techno like the Berghain/Ostgut posse around Marcel Dettmann for example or the Sandwell District releases. Pure techno with balls rather than the boring minimal clicky bullshit. Also the dubstep/techno fusion was great this year and I’m looking forward to more of this in 2010. And the return of Robert Hood was great.

Regarding other artists that I’d love to work with, I know it might sound like a cliche, but I’d love to get the possibility to become more influenced by real musicians. A drummer for example could surely give me some great input. I would love to do some stuff with a singer too….

I’d love to see how Herbie Hancock works in the studio and how he creates his music. He is a really fascinating artist to me….

You have been living in Scotland now for a couple of years. My limited experience of both Germany and Scotland would make me choose Germany, but you seem to find Glasgow to be like an oasis – is it having an influence on the music you are now making?

Yes, I love Scotland and I love Glasgow. It gives me so much more freedom in life than Germany. Germany is always about your work, money and your status quo in general.

I am sure there is an influence on my music but I can’t really say what it is…. I think people that follow my stuff for a longer time will see the difference and if they want to let me know I’m always interested in feedback. I’m a much more happier person now, maybe that makes my music less melancholic but so far I don’t think my tunes are less melancholic.

That is a charateristic of a lot of your music, the melacholy. It makes it stand out, for me. Is it something that is deliberate on your part or does it just happen unconsciously? ‘There, I’ve done it again, I’ve brought the melancholy’.

That melancholy seems to be a part of my character. Sometimes I try to avoid it when I do music because I want to do something different. Most of the time I end up throwing away parts I’ve done or whole tracks because it just doesn’t feel right without it. I’ve always loved melancholy, deepness or sadness in music, even in the most brutal death metal you can sometimes find some sort of melancholy, especially in the slow parts. Or take a listen to “Disintegration”, my most favourite The Cure album, it is so sad and almost suicidal. It’s one of the most beautiful albums I ever heard and it expresses exactly how I feel very often….

I think it’s the dark abyss in my own mind that makes me so addicted to that sort of melancholy or deepness. Exploring your own innerself is the greatest adventure. And to be honest, there are enough “boy meets girl at the beach” happy music out there, isn’t it? LOL

Remixing other artists is a big challenge. The most important thing is for me that I like the original. I’m open for everything.

ISM: Can you envisage yourself still making electronic music in ten years time? Your love for it hasn’t diminished over the years?

Sometimes I am thinking to stop all the music making, label work and deejaying stuff as it can be frustrating. But the flame in me is still burning and there is a natural urge in me to do it, no matter how tough it can be sometimes. So I guess I will still be doing music in 10 years, it might be somehow different than now. But of course I can’t really say how life will be in 10 years. I hope that the flame will burn a long long time.

ISM: If someone reading this interview is not aware of your music, where would you recommend they start with your back catalogue?

For people that want to know more about my music I think the best way is to listen to my two albums “Path of the gods” and “Alpha & Omega”. I consider both as the best works of my own so far and I guess they showcase what my music is all about.