A Personal Revival: Paula Temple Interviewed

For many, Paula Temple’s 2013 outing on the esteemed R&S – the blistering Colonized EP – would have provided a stirring introduction the British producer’s powerful sound. Built around a robust framework of pounding percussion and gnarling synths, the record gloriously encapsulates full-bodied, industrial-tinged techno at its most fierce and has undoubtedly found her many fans at a time of renewed interest in the genre.

 Yet, keener observers will have known for some time the extent of Temple’s talents, both in production and as a touring DJ. Many will have taken note of her first outing on wax, The Speck of the Future, released through Chris McCormack’s Materials in 2002 - Detroit legend Jeff Mills was clearly one admirer, dropping standout track Contact in his seminal Exhibitionist mix. Indeed, for over a decade, Paula has been gradually building momentum with her hybrid live/DJ shows and through her work under various production guises – releasing abstract noise records as Fragile X, shimmering melodic techno as Jaguar Woman and partnering with Stef Bou as Spank Protest in 2012 to release the first tracks on her own label venture, Noise Manifesto.

 Ahead of her appearance for Unseen’s 2nd Birthday this month, we caught up with Paula to chat about her work to date.

Hi, Paula. What’s been happening recently?
Well I’ve just performed at an R&S records party in Brussels. It was absolutely wild - in the best kind of way. The last few months I’ve been working on new music for my next EP and I also made techno remixes of four beautiful songs - cannot wait for these to come out in the summer. I’m also in discussion with live visual artists about working together on some of my bigger shows.

Before last year’s Colonized EP on R&S, you had only released one other record under your own name, and have used a couple of aliases before. Have you struck on something with the recent record which leads you to want to pursue that one guise or do you see yourself keeping your options open with different monikers?
My heart and mind are in dispute about this, because right now I just want to pursue Paula Temple as techno...here you go! But I am making a lot of different kinds of electronic music, because that’s just how it goes with my creative flow. So my friends are saying “you have to release this as Paula Temple!” but I’m uncomfortable with that because they’re so different. At the same time I can appreciate these pieces are too interesting to ignore. So maybe having these different monikers is the best way to deal with this.

How did your relationship with R&S come about?
It was easy. I sent the tracks to Renaat and he went crazy about them. He was like “holy shit these are bombs!” He then put them to the test with Sabine and said if she didn’t like them, then it was game over. But she loved them. Ren and Sabine really have taken the time to get to know me, and the trust and love has been growing ever since.

It’s frequently pointed out that you are the first female artist to have a release on R&S. While this must feel great, it has its own connotations about gender disparities in the electronic music scene. What’s your take on that?
Being on R&S feels great - it’s the biggest honour. But I don’t feel great at all about being the “first female” in anything, because it should never have been this way and yet it is still so strong in every aspect of electronic music. It is a question I get asked in nearly every single interview. It’s not that I want to ignore the question - I never want to pretend it is not an issue even though that would be the safest thing to do for myself - but it is completely pointless asking me. I don’t have the power to do anything about it. Instead, if journalists asked these questions to those who do have the power - those who have made a success for a long time and are still one gender focused – wow, I think that could be one of the most helpful things that could influence change. Ask them what they are doing about it and don’t let them wiggle out with some lame excuse.

The thing is, I love making electronic music. I love being out there playing and connecting with likeminded people, but I really don’t want to have to be highlighted on a gender level, and subsequently be blocked or overlooked. I’m super lucky now because I have good friends in Berlin. I’m being approached by some amazing artists and event promoters who get it and are actively influencing change on this. Without them I think I would go nuts.

There has been a lot of talk of a techno “revival” in recent years, though for many the form has always been bubbling away beneath the surface. What are your thoughts on this?
I disappeared from techno completely for over six years. In fact, I didn’t listen to anything during that time! When I made Colonized I had no idea what current techno sounded like, so I cannot really comment on whether it was bubbling away or not. I just know I’ve gone through a personal ‘revival’ with my relationship to techno. It may be my imagination, but I am curious about the resurgence of underground techno in relation to the rejection of power abuses for world resources that’s eroding humanity like never before. It’s a voice – defiance - and it’s an escape. That’s how I feel.

I understand you are very hands on with regards the tech side of things and co-developed the MXF8 midi controller. Have you always been a tech-head?
I guess so. I don’t really think about it; I just get involved with things that excite me and, if I can, add something useful to the bigger tech picture.

How would you describe your approach to producing music? What do you look for in a track?
As I am sound designing there has to be a moment that surprises me, that usually makes me go ‘fucking hell, wow’. It could be combination of sounds coming together really intensely, or simply one beautiful chord. I can go for months without discovering those moments and then suddenly BOOM, here it is!

What can you tell us about Noise Manifesto?
It’s a bit early to say, but I have some plans for a collaboration project to come out on Noise Manifesto that has me extremely excited, and later on in the year I should be ready to talk more in depth about it.

I understand your DJ sets often incorporate elements of live performance and re-editing etc. How do you approach sets and what can we expect in Edinburgh this month?
I make a lot of special edits for my sets. I’d probably describe the approach as an obsessive compulsive order - no anxiety though, just excitement. I’m always aiming for a journey in my sets that takes people to two places, out of their minds and then into their minds, then out of their minds again and so on, back and forth.

Finally, what’s on the horizon for you? Have you given any thought to producing a full length techno record?
Yes, thinking about this a lot - to make a full length - to experience the process. I’m looking at who I might collaborate with, who would be great to share the process with. I hope to start on an album this year.