Although she denies it, there’s no doubt of the talent that the selector artistic Jennifer Touch has. His motivations are honest and their music is defined for not being a trove. It represents the last sound boom, without losing sight of the future. We took the opportunity to interview her and understand her way of conceiving music.
Hi Jennifer, I would like to thank you for your time! First of all, I want to know how are you feeling at this moment and where are you playing these days or weeks?
Feel pretty busy at the moment, like in a crazy rush but without getting payed for the things I do. I’m in a phase of investment, things are going on but still in a haze. I also realise who’s a dick and who’s a friend. It’s actually a healthy time.
How and when did you get into music and electronic music?
As a child music was always like a vision of a wonderful place beyond a child’s reality. I always felt a deep connection to sounds, especially the sounds of East German krautrock Bands like Karat. East Germany was a very caging place at that time. The way they handled electronic instruments, like a gate to another free world totally matched with my own yearning.
What music has influenced you? Are there any that could surprise you?
Those former Synthesizer sounds, used by lots of crazy post punk, wave or pop bands had a big impact to me. Also bands like Nirvana, Iggy and the Stooges or The Smiths catched me. Of course is Depeche Mode the Band with the most emotional impression. I love their very first records, as they were just fucking amazing synth-kids. And DAF influenced me by the way they fuck song structures or any kind of goodwill.
Is there a particular thing that you look for in music?
Love and mighty solitude.
How would you describe your sound? Your music mixes elements of dark wave, post punk, synthpop… how would you describe your music to someone who has never heard any of your songs?
My music is like a hand in hand journey of a very old mind and the heart of a child. It’s not giving a fuck what genre it is. It wants to grow. It’s synthetic but totally real and substantial. You can dance to it or cry or fuck.
How did you first break into Djing?
I used to play live only, but more and more people asked for dj sets as well. I was doing lots of podcasts already so I thought I can also do this in a club. I got teached by two lovely people and then I started with a 2b2 set with Peter invasion at distillery in Leipzig. I play weird crazy and hard tracks especially from L.I.E.S. Rec and mix it with old Detroit sound. I always change a set for every gig and I love to bring unusual and forgotten sounds back in the club. People love weird tracks to dance to. Actually I don’t see myself as a DJ. I just go in a club and play the music I love. That’s the criterion: I really have to love a track to play it.
One of the main features of your approach as a DJ is to both entertain and educate an audience.
I see Djing more like a showcase than as an entertainment. I mean, as a DJ you got the chance to present music and create special feelings with them. You curate. A track played in a club should be danceable, but if I would only chose a track by its entertainment factor, I would end up as a strange service provider. People like to get a lesson. Even if they leave the dance floor to think about their lives. So I just play my sound and try to take some hands to follow me for some hours. And I promise you will.
What in your opinion makes an artist great, besides talent and dedication?
Empathy and courage.
Do you have any vision or personal predictions about music evolving in the future and its position in the world?
Music and especially making music should be a more free and respected place. If you make music in a very true and honest way, you will suffer and you need support. You will need to get payed proper and to be respected as a working person. I wish we would go back to a thinking, where art was a more supported and a more respected part of a society. Not only something you want to consume without paying for it. Any Art is important. Without giving artists a healthy environment to work in, we are all fucked.
I will release and I will play some live shows again. But it’s nothing I can talk about yet.
Photo ©Nora Heinisch