Interview with Autoclav 1.1

It’s with true pleasure that Vox Empirea webzine interviews an outstanding representative of the IDM/ electronics scene: Tony Young and his solo-project internationally known by the project name of Autoclav1.1. Thanks for being with us!

> Thank you for having me here my friend…

What feelings do you want to communicate by this special evolution of electronic music?

> I just want to gage a reaction from the listener really; all my songs are based on certain emotions at specific points in my life and I just try to translate those emotions into music. The songs are written for me personally, but if someone picks up on it and it means the something to them, then that is great.

Statistically, you are one of the most popular artists gravitating in your genre; which effective elements make your compositional style so captivating?

> I guess that can only be answered by those that like my music on an individual basis. To be honest I don’t mind what people get from the songs, just as long as they get something, even if it’s just personal to them; I probably would prefer that actually.

Since 2004, your music incorporates a wide range of modulations that call, according to the individual situations, the technology and the emotion. When you planning a track, do you ever combine these two different hemispheres or you grant each of them an independent course?

> A lot has changed since I started out my friend; my life has gone through many changes so I would like to think my music evolved with these. I really didn’t have a clue how to write initially, so I would also like to think the production of my music has progressed as well. I was pretty amateurish when I started out.

If your music could be a planet, how would you describe it?

> Ummmmm; I would say lots of fields and hills and rivers with isolated buildings without many people and it’s a permanent summer evening with the sun always low just above the horizon.

I'm curious about one detail of your first release published in 2005, “No Protocol” E.P. You have entrusted its distribution Diskus Fonografika Mexicana. What were the reasons why you chose a label from South America?

> I probably jumped the gun a little too early; I had loads of demo tracks and was offered a release by Chuiy who is a great bloke… I took it because I was offered it, which was a little naïve of me really. I wasn’t talented enough then and I am not too happy with the songs on my first two EP’s looking back. Ah well, that’s life I suppose.

Since that distant debut, you’ve followed other highly valued releases. Keeping into account the importance and the commitment devoted to each of them, what is the release that you remember with greater intensity and for what reason?

> Very difficult question to answer actually; my debut album ‘You are my all and More’ was hard because it circulated around the death of my cat and it is entirely devoted to him; I feel no shame in that as I was an absolute mess at that time and I hated the world so much that this release was very cathartic. ‘Where Once Were Exit Wounds’ was the most fun to do and I was really passionate writing it, trying to get a specific sound; it’s still my favourite and most likely my best piece of work I feel for many a reason.

In the IDM music the rhythmic sections plays a crucial role and the ones that give structure to your songs are extremely articulate, nervous. In practical terms, how long does the drum programming take in your songs?

> When I have a spare moment, I sit and write drum parts sporadically for no real song in mind. I have a folder for all these so unless I am after writing something particular I have a wide library of work to snatch stuff from when I need it. It speeds up the process really as I can get impatient and want a final product completed the moment I start.

Undoubtedly, being signed to Tympanik Audio is a guarantee of prestige. I firmly believe that belonging to a label so talented is a source of pride. Nevertheless, I also mean that being part of this élite also involves a continuous effort systematically aimed to keep high the music standards with works suitable to that dimension. Do you agree Tony?

> Absolutely! The hardest thing is keeping the quality up and it’s always a challenge to create something new that is of a high standard; this is a good thing of course although I still look back and wish I changed some stuff. If Paul (Tympanik Audio) is happy with what I do then I am happy; he is a good judge of what is good to release and what isn’t.

Your latest and sixth studio album called "Embark On Departure" offers twelve new tracks full of gritty industrial-oriented sounds, IDM electronic strategies and piano structures that also give the listener an atmosphere carrying more sentimental landscapes. Have you kept your typical style or you have fully processed some new imprint? Which other characteristics have you introduced in this new track-list?

> The new release ends a quadrilogy of albums that can be tied together. I work in sections; the first two EP’s go together, then I reinvented myself and did 2 albums on Crunch Pod that were wrapped up with the remix album on Hive. The last four are another chapter and there are moments on each that tie the whole lot together if you were to listen to them back to back. On each of the last four I made subtle changes and introduced different elements at different stages; ‘All Standing Room…’ was probably a little too generic and lazy looking back and that’s the only one I really grumble at, so I had to erase some of those errors on this latest release.

In your last full-length, as in other previous chapters of your discography, I still notice the participation of Claus Larsen aka Leaether Strip and Michael Morton of the project called Displacer. What special affinities converge in your music?

> Claus and Mike are my friends and I really like them as individuals and respect what they do within their respective genres; I like working with people sometimes and I had an idea at the time of what I was after on a particular track; it made sense to ask friends who are professional and trustworthy.

During the live performances do you play individually or do you count on the cooperation of other operators? Does your music need the support of very large equipment or does the laptop make the most of the work?

> In my home studio I have my desktop iMac with respective software such as Logic on it, guitar and keyboard and live I use a Macbook and midi controller with Ableton. I can be a bit of a control freak with music so I play on my own live. I have had my friend Kev assist a couple of times and Jamie from ESA, both of whom are great guys and it was fun when we did it. Years ago I used to have a guy on stage doing my visuals to fill the stage up, but when he started taking false credit for my music rather than the bad output of visuals that were steadily getting worse, I stopped asking him to assist; some venues provided a visual artist and they were blowing him away anyways. Booking me is pretty cheap with it just being me anyways, especially if it’s abroad.

Speaking artistically, what is the greatest wish of Autoclav1.1. ?

> I don’t have anything particular other than the ideas keep coming. I have some for the next album and it’s the start of a completely new phase of writing style wise, so I am pretty excited. I want some stuff on vinyl so hopefully there will be some limited stuff out on other labels soon.

Tony, it's time to say goodbye: thanks a lot for your presence on Vox Empirea. It was very important for us to know yourself and your world. Now and here you can leave an important message to make you remembered by our readers!

> Thank you for the interview and interest mate. Never try pick up a live squirrel; you have been warned.

* (by Maxymox 2011)