Words by Art Jefferson
Photography by Vinnie Liazza, Pillar Gost
When thinking of Jennifer Touch, two words come to mind – multifaceted and powerhouse. Based in Berlin, she sings, writes, and produces songs that are wide in sound, reaching points including post-punk, new wave, cold wave, various styles of dance, synth wave, and even pop. With a presence that can command a room instantly, she is the complete package of artistry. With all that being said, she also understands the importance of creative freedom, a space that she has managed to carve out for many years now.
Listening to Jennifer Touch’s music spanning the past 10 years, one can find a fine meeting point of that which is dark and that which is utterly romantic. In some ways, her music is like a soundtrack to a late night out that can possibly end in a dream-like, life changing moment. The sounds can be punchy and edgy, they can be sexy and glam. Any juxtaposition feels like it’s actually synchronicity, rather than contrast. Releases like her 2016 EP Feeling C and 2019’s Chemistry release are great exemplars. These along with previous recordings led up to Jennifer Touch’s 2020 debut album Behind the Wall. A deep, hedi blend of electro, EBM, new wave, and 4×4 dance grooves, that idea of true artistic freedom was implemented fully. This year Jennifer Touch dropped her sophomore LP Midnight Proposals, which found her soaring, wings fully spread, gracefully floating through the spectrum of pop, post-punk, and deep electronica, just to name a few.
Jennifer Touch’s latest cut ‘Altars’ will be featured on the forthcoming compilation Next Wave Acid Punx DEUX, which is curated by Berlin-based producer, musician, and DJ Luca Venezia, known to the world as Curses. The LP is out October 20th via Eskimo Recordings. The album is split into three discs and features a slew of tracks by artists including Throbbing Gristle, Cabaret Voltaire, Boy Harsher, Dina Summer, and the list continues. What is described as an exploration of the edgier side of electronica and dance, Jennifer Touch’s ‘Altars’ is a dark, sensual delight, fitting more than comfortably in this colossal offering.
You grew up in East Germany. What were those times like before the wall came down and how did it impact you in terms of music, and what songs do you remember hearing during that period?
Jennifer Touch – I was very young when the wall came down so I don’t really remember most of it. I was just in elementary school and we often had to wear some kind of school uniform, a rule by the socialist government. I always forgot to wear this stuff and it made me feel ashamed but I just didn’t give a fuck about this conformism. Sure, as a child you want and need to belong but it also got on my nerves to fit in and to look and behave like others. So at a very young age I felt this conflict of every artist, I guess. Also I was often chosen by the teachers to sing political songs in front of the school when there was an event. The songs were weird and I didn’t care about them but it felt good to be “on stage”. It was a strange time anyways, it had safe and nice components in community but as an individual, it was hard for many. Especially for artists and how they were controlled by the system. We had lovely records though, great ones for children but also the bands Karat and Electra, amazing compositions and productions, my very early approach to synth sounds. In the GDR a special music scene developed. Close to Krautrock and also NDW, but with very touching lyrics and melodies, yearning for freedom and to spread wings.
It would be easy for people to assume that you make cold wave and synth wave music, however, if one truly dives into your discography, you can hear everything from new wave, indie, house, and even 70s punk. There are also pop melodies in your tracks, not to mention traces of acid when I think of a song like ‘It To Come’. For you personally, what records would you say had major impact on you sonically in terms of inspiration?
Jennifer Touch – Thats true, my music is based on a wide range of influences, an essence of every artist I adored growing up and even today, filtered through my own creative channel. Especially the freedom to use my voice in all the shades, this came from PJ Harvey, Kim Gordon and Beth Gibbons. The record range is quite eclectic, some of my fav are:
PJ Harvey – Uh Hu Her
Sonic Youth – GOO
The KLF – The White Room
Lacrimosa – Stille
Portishead – Dummy
Cause for Alarm – Cheaters and the Cheated
DAF – Gold und Liebe
Sick of it All – Scratch the Surface
Depeche Mode – Speak and Spell, Black Celebration, Songs of Faith and Devotion
Martin Gore – Counterfeit ep
She past away – Disko Anksyiete
Cocteau Twins – The pink opaque
Nirvana – Bleach
Ann Clark – Changing Places
The Smiths – The Queen is dead
When did you first delve into the production side of things? Also how was that transition coming from being in bands?
Jennifer Touch – When I started in bands (from punk, singer-songwriter to indie, electro) I was always the singer, this was my place and it wasn’t enough anymore at some point. Actually, I always wanted to be the girl with the guitar, boss of a band, writing songs etc. I realized that I need to hold all strings in my hand, to create it all on my own. Building my own sonic universe and emancipate myself, no compromises, no following, no external rules. I started to mess around with Reason, Logic, some years later Ableton. I learned everything from scratch, starting in my bedroom just on my own, and the freedom to create felt incredible. I never had any musical education, I just knew that I can sing so I jumped into the unknown waters. Over the years everything became more and more professional and I always had people to ask for technical tips. I spent nights alone in some small dark rented studio rooms to rehearse my live set, playing synths, later guitar. Until I finally built my own little studio. Production is an important part in creating music but not the most important. It’s the decision to dedicate yourself to everything, to be brave enough to start.
You and Curses are no strangers to working with one another as he remixed your track ‘Sell’, as well as you lending vocals to his song ‘Boundless’. How did you two musically come together?
Jennifer Touch – Luca and I, we come from the same musical planet, even though we have different backgrounds. He grew up in New York, me in Germany. So we approach things differently but we speak the same language when it comes to music. When he created the remix of my track ‘Sell’ I was so amazed by his ability to work with my sounds and take it to a different place – and I still felt seen, understood as an artist. It´s a rare thing. We became friends and I delivered lyrics and vocals to a demo he sent me, so the song ‘Boundless’ came just with ease. I’m very happy about this piece of work, it means a lot to me.
Your song ‘Altars’ is featured on Curses’ Next Wave Acid Punx DEUX. I love this track, especially the vocal performance. Can you talk about the origins of ‘Altars’.
Jennifer Touch – Thank you! The song was kind of a next step after I finished my last album. I tried to figure out what feelings I need to talk about now, what sound creations I want to explore more. I feel like doing some proper dark wave songs that are more focussed on my singing voice. I want to express myself more and more with a clear and emotional voice. I often like to change my vocals in songs, change the tone, playing around with it. Now I feel like just singing. Even if it’s a bit too much or too direct, I combine it with a cold instrumental composition that is clear and clean to keep the balance. Because I’m also a bit scared of showing myself so intensely…as so many girls I was often told to keep small. ‘Altars’ tries to work all this out musically, the lyrics also talk about the fear to open up.
I think it’s a great song for a compilation as it stands on its own and I’m so happy to be part of the Next Wave Acid Punx Deux alongside so many amazing artists, keeping and rewriting the dark side of post punk and pop music together.
What are the initial stages when you begin working on songs? Since you sing, write, and produce, does the writing aspect come first or do the words flow after you have a general ideal of the music and where it may take you?
Jennifer Touch – Its different every time and there’s no real step by step process, it’s messy. But often I start with a melody, a synth, bass or guitar line, I add beats to figure out the energy and if it wants to become a song or a track. (I prefer songs more and more.) Sometimes I have a beat looping and I add some vocals and then I built the instruments around it. All of this feels like a non-conscious process, more like channeling the sounds and the lyrics, it’s a spiritual thing. I jump off a cliff and fly through what happens with the instruments, my voice, my brain. Like a child that is drawing in the sand. And If I feel that there is something special happening, a momentum, I force myself to come back into the real world and start with the very focussed steps. The producing part begins, I shape the sounds, add details, kill my darlings. To build a good composition or an interesting song is not easy but I love to try it, to shape and to create! Also I mostly have to fix lyrics, to understand what I want to say, writing poetry. Its super exciting to bring something to live thats coming from a void and that would not exist without you. And that is maybe speaking to others and is connecting myself to the rest of the world.
You have always seemed to be an artist that has operated in the space of total creative freedom when it comes to your music. How have you avoided the pitfalls of many other acts who have been pressured into making whatever a label feels is best for them?
Jennifer Touch – First of all: you need to find the right people to work with, your allies. But before all this happens, its good to swim in the music business sea on your own for a while to figure out whats on your inner table. This takes a while but then you know how it feels to be seen and thats the biggest part. Of course, every label with a good A&R person and experience will give you some advice to make things sellable, cause thats their job. And if you are a professional you have to deal with it because you work with them, and that’s a business connection. In my case the label just advices to shorten a song or to bring in the vocals earlier. I never do things that I don’t feel. I would rather leave a label than to bend myself into something I´m not and that I don’t even want to be. I don’t mind if the song is too long if I feel it has to take the space. I listen to my label, appreciate their knowledge and we talk and discuss but Alex (head of FatCat) signed me for my artist vision and for what I am, without any need to push me in a certain direction. Well, I never change my music just to please someone because my music is the only space where I claim my absolute freedom. And I can’t care if it’s a trend or not. I’m doing art, not fashion.
Purchase Curses’ ‘Next Acid Punx DEUX’ via Bandcamp
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