I became familiar with the very personal, intense and sensual voice (and the all-over atmosphere) of the artist known as Yasmin Gate after hearing her awesome collaboration “That’s All” with Equitant. Constantly evolving and finding new portals for creativity, Yasmin is currently situated in Berlin, busy with her current projects such as her record label (and music blog) Killerrr.
Hey Yasmin! Where are you right now, writing this, and how has the year fared you so far with your projects?
Hi! Now I’m in Berlin. This year has fared wonderfully. In march I made a super nice tour in Argentina and I’m already developing ideas for the next tour. On top of that, we are about to release the new Dualesque Album with Killerrr in which I am featured in the first single. We’ve already shot the video in Buenos Aires and the edit is almost finished.
Originally from Buenos Aires, you have migrated from Argentina to Madrid and back to Argentina again, now grounding yourself in Berlin. How would you compare the different musical climates of the places you’ve been living in? Do you find Berlin to be a perfect place for you right now?
There are completely different musical climates in these cities. When it comes to Electronic Music in Argentina, I have a feeling that it’s always tinted with Rock guitars. It is a nice sound, more raw yet naive at the same time. Argentineans love Rock Music and you can feel it even in the Electronic scene. Of course this is a general approach, there are also a lot of good Techno producers.
Madrid has great producers as well as Barcelona. I started my career in Madrid and it was a nice homebase. Anyway Berlin is the place to be for me right now, in a musical way and in a personal way. Berlin has a good range of opportunities for artists who want to experiment. The music scene is enormous! Thousand times bigger than in Madrid or Buenos Aires, which makes Berlin easy and difficult at the same time.
I heard your voice first on your collaboration(s) with Equitant (previously of the awesome Metal band ABSU), in a more traditional Techno-oriented soundscapes, but you have recently moved into more Trap-sounding realms. Was this a conscious decision coming from you, or more a byproduct of your work with the producer-duo Dualesque?
The truth is I was interested in developing more of a Pop Album than what I have done before. For me it is always important to challenge myself and I wanted to sing more than to narrate. I see “Dollhouse” more as an album with modern sounds and arrangements.
If you take a look back, from Dirty Princess (my first Electronic band) to today you will find a clear evolution towards musicality and experimentation. By the way, I’m already working on my next album and you will be surprised, it will be something new again, none of the things I have done before. That is what keeps me doing art, to share and discover new borders.
Whatever the beats, when it comes to Electronic Music production you have always been clearly influenced and enthralled by the more traditional and vintage (mostly eighties?) synth-aesthetics. Using unique synth-instruments in live situation etc., are you more of a software freak or a hardware geek?
I love technology. I’m always trying to find new instruments to play live with. For me software and hardware are both great. Each one has a function and they can complement wonderfully.
As your music videos, release-covers and promo-pictures clearly show, visual aesthetics seem to be as important to you as the music itself. Do you have a background in visual arts or for example styling, either by studies, work or both?
All the graphic work, videos and pictures are done by me because I enjoy so much doing it! When I was living in Madrid I went to the University to study “Art History”. It is a beautiful career, I guess that opened my eyes in more than one direction.
As an artist who has toured a lot and has much experience from live performances, how important do you see the whole touring-aspect of the (Electronic) music industry these days? Which setting do enjoy more, the festival or the club?
I believe touring is the most important part of the whole deal. It is the only way you still can get in touch with the audience. Humans need Humans in order to feel more deep emotions, and this is what Art is about: emotions.
Having experience of DJing as well, what kind of advice would you give to an aspiring DJ of for example underground Techno music? Do you personally enjoy performing your own material more, as opposed to material by others?
I enjoy doing more other’s material and I love to play my own songs live.
How do you see the progression and future of underground Dance Music in general, do you see more progression and new ideas, or classy vintage vibes in the future? How much of the wheel is worth reinventing?
I see a great evolution coming up. I don’t know exactly how it will be, but I guess it will be super interactive. Reinventing and adding up new hardware and software is the wheel of progress so it is more than welcome to come. The bases for the future are wirelessly wonderful. Music translates feelings and it will remain like that, but the way those feelings will be transmitted will tell us a new story.
Thank you very much for this short interview! What does the rest of the year of 2016 have in store for you and your projects?
Hopefully I will finish my new album. There’s also the new Dualesque album coming up with several video releases, plus new releases on Killerrr from two wonderful women and artists: Carmel Zoum and Lotis Tyr.
On top of that Killerrr and Fulmen Records have started a new event series called “Matematic” to showcase Latin-American Electronic Arts in Berlin, we’re looking forward to give a space to new and young talents. As well as the “Killerrr Club”, which is our beloved label party, will have several editions this year.