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An Interview with Tony Young of Autoclav1.1
Posted: Sunday, October 05, 2008
By: Ilker Yücel
Editor

Electronic music artists are a dime a dozen these days, and one might not think it rare to see more than a few of them injecting their music with a great deal of emotion. However, in the case of Autoclav1.1, a.k.a. Tony Young, the fusion of intricately programmed beats and electronic sequences with melodic orchestrations befitting a classical symphony does well to create more than a clever mix of divergent styles of electronica. With two EPs, two albums, and a remix collection under his belt since first beginning to write music in 2004, Young has steadily become one of the more prolific artists in the post-industrial music scene, furthering his musical development as he exhibits characteristics of industrial noise, IDM, and ambient all culled from a place of pure human emotion, placing as much emphasis on the technical constructions as on the musical niceties such as melody and harmony. Releasing his third album, Love No Longer Lives Here on Tympanik Audio, Young incorporates more organic textures by way of live instrumentation, placing guitars, bass, and piano into the mix, bringing an even more human dimension to a genre dominated by mechanical sonic personality. Shortly after the album's release, Young speaks to ReGen about the thematic progression his work has taken over the past four years, his signing to Tympanik and his relationship with the rapidly up-and-coming label, and mentions more than a few times how much of an influence Danzig is on his music. Feel and enjoy!

The title of your new album is Love No Longer Lives Here, while your last release was a remix album titled Broken Beats for Broken Hearts. Do the two titles correspond to a specific theme that you're trying to convey, and if so, what can you tell us about it, if it's not too personal a subject?

Young: In all honesty, they are both very separate entities in their own right. Broken Beats was just a good way to say farewell the period that was You Are My All and More and Visitor Attractions; I needed closure before launching Love No Longer Lives Here. The new album has a slightly different theme, an ever so slightly different approach in style and imagery, and is me reinventing myself in a way. As much as I am proud of the previous two albums, I know I have done a lot better with the latest release. Broken Beats was an interim move, as well, while waiting for the new release, and also for my love of hearing how other artists could interpret my tracks to the world.

In the liner notes to the album, there is a quote, 'There is no grey or in between.' Can you elaborate on its meaning and how it relates to the music on the album?

Young: Love No Longer Lives Here is about the state of the world and the people within it. No one seems to truly care about how they treat others, not on a mass scale anyway. It's a very selfish world we live in, and this album investigates the modern human condition as I see it and life in general. To me, everything is black and white because either way, things go either one way or another, good or bad. Things just are as they are.

Ending the album is a song called 'Six Minutes to Live,' which is a rather somber and slow piece, true to its name. Given the melancholy nature of its melody and atmosphere, what was the intent behind this song?

Young: Actually, I find that as one of the more uplifting tracks on the album. Isaac Asimov once wrote, 'If I had six months to live, I would write faster.' I loved that. It's about getting everything in you can and truly appreciating everything you have before it all ends, because in the end, everything does, whether you like it or not. In this life anyway, whatever happens after.

The new album shows you moving into new territory with Autoclav1.1 as you utilize more live instrumentation than before, specifically live guitars and drums. As much of your music in the past has been purely electronic, what motivated your decision to include these elements into your music this time around?

Young: Well, I don't listen to just electronic music. I love metal, I like some country music, I like all sorts, actually. Eventually, a lot of this is going to show, I guess. I wanted an album that shows me as I was, but incorporating styles that make it a different album that stands out in its own right, as I finally have found the sound that I wanted. I love natural sounds and I have many influences. I always liked the flat snare that Danzig has on all his albums, and that shows. I like guitars and real bass. It was just a natural process for me to go this way. I will just always write and whatever happens, will happen. It may change again, but for now this has everything I wanted style-wise.

Joining you on the album is Jamie Blacker of E.S.A. and Dave Pybus of Cradle of Filth. How did they come to work with you on this album, and how did you find that their style and sound affected the music of Autoclav1.1? How did their inclusion on the album affect your songwriting methods and mindset?

Young: Their sounds and style didn't affect my sound one bit. I wanted them to collaborate on one track each because they both are really good friends and I have a lot of respect for them. I wrote 'All Long Black Spirals' as a tribute to the Wax Trax! era of industrial rock, and I hope it shows. I asked Jamie to do a guitar line for it, and later on I added to it myself. With Dave, he came and visited, and I said I wanted a bass line for a track, and he wrote me one, and I was truly chuffed because we have been mates since I was 14 and to finally be on something together, even if it's just one track, means a lot to me.

Besides your work in Autoclav1.1, you also play live for Synnack. How has this relationship benefited the two projects? What sort of lessons do you feel you've learned from each other and how you've applied them to your respective projects, both live and in the studio?

Young: Well, unfortunately I live bloody miles away from Clint. Given the opportunity, I would play live with him all the time, as we have a great synergy together. Clint has done me a mix before and I have given him parts to a few songs on his debut album. He's a top friend of mine and someone I have a lot of respect for. I don't think we have learnt from each other, as we are both big stubborn kids, really, and I don't believe we have influenced each other on our own respective projects, really, as we do sound very different. There are, however, plans for a collaboration EP later, so keep your eyes peeled.

Another notable aspect to your music up to now is your use of acoustic piano. While this is hardly unusual in electronic music, what are your thoughts on the use of non-electronic instruments and sounds in the genre? In other words, what does the juxtaposition of live and electronic sounds do for you emotionally?

Young: Everything I do is ruled by emotion; it really doesn't matter how you achieve the sound. Piano is such an evocative instrument, though, and it's a medium I love to use because I feel I can really express myself. Whatever works for whomever though; if they are happy, then good for them.

You've recently signed to Tympanik Audio, which is a relatively new label that has already released a number of quality artists. How does working with Tympanik compare to past labels you've been affiliated with, and how has it benefited you as an artist?

Young: I am in awe of the work Paul and company have done with Tympanik as a label so far. To come such a long way in such a short space of time is a major achievement. I am not going to go into past relations with other labels. They have been good for what they have provided and I have respect for them releasing my music, but I have always been searching to find the perfect partnership with a good label. Tympanik fit the bill. I am very much into communication and let's just say I couldn't be happier right now dealing with the label and now, dare I say it, friends as well. Tympanik treat their artists as a family. We all speak to each other in group e-mails and there is a great sense of community within the label, one which I have not experienced before.

In the past, you've stated that IDM is an influence, but that you classify your music as 'emotional electronica.' First of all, especially now with so many acts employing a similar mix of complex sequencing and percussion akin to IDM, what other sorts of influences come into play in your songwriting process?

Young: Life, love, death, and the emotions concerning those matters are the three things that influence me really. If you are talking music that influences me, then there is so much. Danzig, Depeche Mode, Morbid Angel, Gridlock, Ludovico Einaudi, Kate Bush, and a whole heap of others; not discounting myself, all have spurred me on when needed. If you really listen closely, you will see it seeping through much of the new album. You know, I might have to rethink that electronica badge as I have so much rock influences in my sound now.

Secondly, instead of asking how you consider your music to be an extension of the emotions you're trying to convey, what are your thoughts on the emotional content present in modern electronic and industrial music? How do you find you connect with the newer music coming out these days?

Young: That's a tough one, because you have to get into the psyche of the artist who has written the music. It all depends on what they have produced and what they are trying to convey. If I connect with someone's music, then good. If I don't connect, then I simply don't listen to it. If it's deeply emotional and strikes a chord, then it's for me. I do believe there is a lot of pointless electronic music out there, though, just produced to fuel drugged up club kids and to be honest, I completely abhor it. Whatever floats their boat, though, just as long as I don't have to suffer it. With regards to new electronic music, there are a lot of talented people out there, and I know my label has a soft spot for new artists and a good ear for them too looking at the future roster. It's the same as always, though. There will be rubbish and amazing talent entering the scene in equal measure. It's just a matter of keeping your eyes open and looking out for it. I will connect where I feel I can.

Now that Love No Longer Lives Here has been released, what are your immediate plans concerning the album? Will you be taking it on the road? With the greater presence of guitars on the new material, what can fans and audiences expect from an Autoclav1.1 live show now? Do you have plans to include a full band lineup?

Young: I have actually been using the pressure pads for the guitar parts, and it works really well. Kind of still shows I am an electronic artist at the end of the day. I am open to people having a go with me live; we will see. I hope to be taking it on the road. I have just done two gigs this year so far, the last in Denmark where I got to hang with some amazing people. So yeah, I hope to get out there and meet people and play. I don't like doing too many shows at once, though, as it would dilute it somewhat for me, and I have to enjoy myself with it or there is no point. There are plans for me to get back to the States soon, and I want to get back out to Europe as well.

Having performed across Europe and North America, what sorts of differences have you noticed between the two with regards to the audiences? How do the crowds' reactions differ in each continent, and why do you think this is so? Which do you prefer?

Young: Not too dissimilar, to be honest. It depends where you are. My best show to date was still Infest in 2006, in my opinion. Yeah, other shows have been good, but it's the one I remember most vividly playing, which is surprising considering how much alcohol I had consumed. Strangely enough, I also enjoyed the one in my home town a lot as well, and the first time I did my bro Eugene's 'Tech Noir' night. It's strange, as it all becomes a mishmash of junk in my head, and I tend to see my experiences with people before and after the show to be as relevant as the show itself, so it's a little more complex than just the show. It's who I have around me, and I sometimes barely remember playing at all. The most important bit is just hanging with people and having a laugh. Contrary to popular belief, I like having fun. For example, the entire three days after my gig in Denmark were part of the gig for me, and more important. Hanging with people I care about matters more than anything in this life, and I wouldn't always be able to do that without my music, so being able to hang with new folks and my bro in another country was just brilliant. It's very important to the entire experience. As another example, the south of France was a big pile of rancid crap. The gig was bad, the majority of people complete arseholes, and the personal company just rubbish. So it's a time and place and environment thing, and it differs everywhere. The key to having a good time and playing well, I think, is just to surround yourself with good people and it should all come together in every respect and it shows when you play as well. I think the differences are there because of different cultures, different scenes that have inbred counter-scenes within them, and it's down to how open-minded they are. Either way, if they like it, then that's wonderful, and if they don't, then good for them. I won't lose any sleep over the latter as long as those people who wanted to see me live and enjoy it get everything they hoped for.