‘Lose yourself in what you’re doing and enjoy it.’- ELLLL Interview

Cork based Techno producer ELLLL, otherwise known as Ellen King, has been making waves in the Irish electronic scene this year. After a string of successful live shows under her belt (such as her Boiler Room debut), ELLLL has burst into the Irish Techno scene with her trademark blend of ominous, eerie, bass laden sounds infused with warbling, shiver inducing vocal samples - all contributing to her impact in the underground dance community, not just within the Emerald Isle.

Founder of the ‘Gash Collective’, Ellen is one of the women in a notably male dominated industry who has provided a sturdy platform for female producers to pool their ideas together and display their stellar talent through thumping sets in intimate underground spaces across Ireland.

As 2016 draws to a close, MOTZ chatted with ELLLL to take stock of such a significant year in her music career and what’s planned for 2017. Discussions on Cork raving (or lack thereof), growing the ‘Gash Collective’ brand and how it truly feels to have the Boiler Room camera plonked in front of you during a live streamed set…

As a live Techno artist based in Cork, what is the underground music scene like in the city at the moment?

It’s a bit grim right now. There’s a big lack of clubs, venues and places where people can make music. Promoters are trying their best but the city desperately needs more investment in the arts.

Lack of clubs aside, tell us about the ‘Gash Collective’ and how you got involved in such a project?

A couple of reasons. The first being a growing sense of disillusionment I was feeling towards the representation of women in electronic music. I was getting fed up with the lack of diversity on event lineups. Completely lazy bookings by promoters. These sentiments were mirrored by conversations I was having with friends at the time too - that just spurred me on even more.

Another big inspiration to start Gash was after I joined Female Pressure. I began to discover the kind of support network that exists within it. It’s really important to have a safe space to discuss ideas and ask questions. I wanted to do something similar on a smaller scale and by doing so, encouraging women to get involved with music production/DJing. To create visibility and highlight the level of talented producers and DJ’s in the country that might otherwise go under the radar.

Can we look forward to Gash events being held outside Ireland any time soon?

Maybe! It would be very cool to work with similar collectives and host some nights or workshops together. It’s definitely something I’m open to.

In the short term Gash’s main focus is centred in Ireland; continuing to promote events, create visibility and give exposure to female identifying producers/Dj’s. We’re also working on getting some DJ workshops off the ground in the new year, which I can’t wait for.

How has 2016 been for you as producer who has received a lot of exposure this year?

It’s been a bit crazy when I think about it and look back at the last 12 months. I’ve been steadily writing music for a few years now but this last year in particular has definitely given me a lot more confidence in my voice as a producer. I just want to keep building on that, progressing and learning more.

Talk us through your live set up and how you prepare before a set.

I use Ableton and an APC mk II for playing live. I like to build my set in a way that gives me flexibility and room to improvise but in a way where I can also interweave key elements of specific tracks in new ways.

I generally have it set up so that I’ve several tracks with several differing clips on each one.

The clips could be really tiny samples in some cases, so tiny that I can play between them like pads or a synth and make new melodies or patterns. It’s pretty effects but heavy. On each track I’ve a few effects and then sends with more effects on top of that. This gives me so much scope to completely transform a sound live. I’m a big fan of Max for live too, so there’s a good few of the Max instruments on the go also.

From an outsider looking in at my set, they’d probably think it’s a hot mess. It’s constantly a balancing act for me from wanting to add in extra parts (that ‘just in case’ mentality’) but also (most importantly for me) wanting to impose some limitations by trying to stretch the material I have in new ways.

Preparation wise, I do several jam sessions and have fun with it as much as I can. I try to treat it like one big improvisation. Sure, there might be some features you really want to incorporate but for the most part you don’t know where it’s going to take you and that’s the beauty of it.

The minute a set becomes anyway rigid, it stresses me out so much that I don’t want to do it anymore. That pressure to try and play back something exactly as it was written is so incredibly off putting to me. You want to lose yourself in what you’re doing and enjoy it - what’s the point otherwise?

You were part of a prolific Boiler Room set in Dublin this year with Irish producers including Sunil Sharpe, DeFeKT and Daire Carolan B2B Sonel Ali. How did you feel that night knowing that a staggering amount of people were tuned in from all over the world and watching your live debut?

I tried not to think about it to be honest. It’s tricky because it’s such an unnatural setting, you’re

trying to zone out and focus on your music but then someone is in front of you with a camera. It’s a really strange scenario to be in. Feels very surreal.

A few months ago, Boiler Room decided to put an end to any sexist comments during their live streams, particularly after Nightwave was subjected to abusive and misogynistic comments during her set in Paris. Why do you think female DJs are highly targeted for such vilification online?

There’s no excuse for it. The people writing those comments are inciting hatred. They are keyboard warriors, trolling and trying to be controversial.

I’ve no idea why female DJ’s are targeted like that. It’s deeply disturbing and uncalled for. The club scene can already be such an intimidating environment, deterring many women from getting involved in the first place.

Nicole Moudaber stated at the IMS in Ibiza this year: 'If you’re passionate enough about this (producing and DJing) and this is what you want to do, you can go out there and grab it, whether you are a boy OR a girl'. Do you agree with this statement or is she being oblivious to any gender related issues in the industry?

It’s a nice sentiment but I don’t agree. Obviously everyone should work hard to achieve their goals, but I do feel as a woman you have to bring it twice as hard in order to be taken seriously. Looking at almost any festival billing will tell you that.

What is in store for you next year?

My first record ‘ROMANCE’ will be out in early January 2017 via Art for Blind Records, I’m pretty hyped for that. I’m planning to do more live shows in the spring to coincide with the release, which I’m really looking forward to. Ideally I’d like to line up another release or two before the end of next year.

More GASH events are in the pipeline for next year also, with the plan being to have events and workshops more regularly as the collective grows.

Finally, considering live production is your career now, what do you personally think is the most enticing thing about the genre of Techno music?

I love how completely unapologetic techno can be, how it can sometimes blur the lines between club music and noise. Whether that’s something over-driven and heavy or totally pared back and minimal.

There’s always been a physicality to it that I’ve found completely infectious, when it’s well produced and you hear it live or on a great system - that feeling when you walk into a room and it resonates in your chest. It’s really special. I’m a sucker for that.