MEET: ANDI HARRIMAN
Andi Harriman is a writer and DJ living in New York City with an emphasis on all things dark and Eighties-centric. She is the author of the book Some Wear Leather, Some Wear Lace: The Worldwide Compendium of Postpunk and Goth in the 1980s and her writing has appeared in Red Bull Music Academy, Dazed, Village Voice, Noisey, Bandcamp Daily, Electronic Beats and LA Weekly, to name a few, while acting as contributing editor to Post-Punk.com.
갛둑·벗쟁참（AndiHarriman）角寧貫鱗소뵨DJ，遼瞳큔獨懇，儉淪路黨붚갠뵨검枷쾨덜槨櫓懃돨杰唐慤膠。劒角《寧硅칠愆튄몌，寧硅칠愆빻긋：Postpunk뵨Goth돨홍헷매狼》寧蝎돨鱗諒，瞳1980쾨덜，劒돨廖鱗鄧놔君瞳RedBull稜있欺牘，Dazed，Village,Voice，Noisey，Bandcamp,Daily，ElectronicBeats뵨LA쏭앨섯절，첼鷺寧늴，谿珂덫훨Post-Punk.com돨景獨긍서。.
We know you are based in New York, but could you tell us more about yourself? Were you born there? If not then where did you grow up? What were your first steps with the music?
I grew up in a small town in the Appalachian Mountains in Virginia and lived in Richmond, Virginia and Savannah, Georgia before moving to NYC eight years ago. Before moving to NYC I’d never been a part of a dark music scene (mostly because they didn’t exist) so I spent a lot of time isolated from others. I’ve always been obsessive about music, I had been collecting remix CDs of my favorite artists as a pre-teen just because I needed every facet of certain songs I loved. That continues today with my record collecting. I guess I would say I’m a digger and collector more so than anything—the rush of discovery feels new each and every time. My career in music came through music journalism before DJing and producing, even though I feel they fit together nicely. A crazy, committed obsession with music is necessary for every one of them
我们知道你在纽约，但你能告诉我们更多关于你自己的信息吗？你是在那里出生的吗？如果不是，那么你是在哪里长大的？你接触音乐的第一步是什么？
我在弗吉尼亚州阿巴拉契亚山脉的一个小镇长大，在八年前搬到纽约市之前，我在弗吉尼亚州的里士满和佐治亚州的萨凡纳住过。在搬到纽约之前，我从来没有参与过黑暗音乐场景（主要是因为他们不存在），所以我花了很多时间与他人隔离。我对音乐一直很痴迷，我在十几岁之前就一直在收集我最喜欢的艺术家的混音CD，只是因为我需要某些我喜欢的歌曲的每一个方面。这一点一直延续到今天，我的唱片收藏。我想我会说我是一个挖掘者和收藏家比什么都重要–发现的冲动感觉每一次都是新的。我的音乐生涯是在
做DJ和制作之前，通过音乐新闻而来，尽管我觉得它们很适合在一起。对音乐的疯狂、执着的痴迷是每一个人都需要的。
Recent release on A+W. Tell us about the process about it. How long did you work on it? What was the trigger to start and was it primary intended to be released on A+W or the idea came later on?
I had been producing a bit before the a+w release and had put out two of my own tracks on SYNTHICIDE compilations. Afterwards, I thought the next natural step was to make an EP. The trigger to produce Corpse to Corpus was because of the blatant misogyny that was apparent in the scene. The EP is my reaction to the glaring problems within dance music culture as well as my own experiences of it. But yes, I made the tracks with that label in mind, knowing they are the prominent label in the scene (and my personal favorite).
It took about 2 years to complete – which feels like a long time – but I wanted it to be perfect.
最近在A+W上发布。跟我们说说关于它的过程。你在上面工作了多长时间？是什么触发的，是主要打算在A+W上发布还是后来才有这个想法？
在a+w发行之前，我就已经开始制作了，并且在SYNTHICIDE的合辑中推出了两首自己的作品。之后，我想下一步自然是制作一张EP。制作《Corpse to Corpus》的导火索是由于现场明显的厌女症。这张EP是我对舞曲文化中存在的明显问题的反应，也是我自己的经历。但是，是的，我在制作这些歌曲的时候就考虑到了这个标签，因为我知道他们是这个场景中最突出的标签（也是我个人最喜欢的）。
它花了大约2年的时间来完成–这感觉像是很长的时间–但我希望它是完美的。
What is your favourite equipment / setup if it comes to music production? Where do you prefer to produce?
I like working with a minimal setup and I believe that it’s not necessary to have a lot of gear in order to make a great sounding record. Currently, I have two rack module synths, a Kawai R-50 drum machine, and an insanely heavy mixer from the 1970s that has a nice spring and noise to it. I think my favorite is definitely the drum machine since it’s got all the classic Wax Trax! sounds I’m obsessed with. All my hardware is vintage and my DAW is Ableton. Since I don’t own much, everything is on a fold out table in the corner of my bedroom—glamorous, I know.
如果涉及到音乐制作，你最喜欢的设备/设置是什么？你喜欢在哪里制作？
我喜欢用最少的设置来工作，我相信要想做出一张好听的唱片，不一定要有很多的装备。目前，我有两台机架模块合成器，一台Kawai R-50鼓机，还有一台70年代的疯狂重型调音台，它的弹簧和噪音都很好。我想我最喜欢的肯定是鼓机，因为它有我迷恋的所有经典的Wax Trax！声音。我所有的硬件都是复古的，我的DAW是Ableton。由于我的东西不多，所有的东西都放在我卧室角落的一张折叠式桌子上–华丽，我知道。
Have you ever been to Asia? If yes, tell us about your experience. If no, how do you imagine your stay and where if you would go? Any Favourite place to DJ ?
Any city which inspire you?
No I haven’t, unfortunately! I would certainly love to go there. I love traveling and meeting new people while discovering new cultures, that’s the best part about touring.
你去过亚洲吗？如果有，请告诉我们您的经历。如果没有，你如何想象你的逗留时间和你会去哪里？有沒有最喜歡做DJ的地方?有沒有任何城市能給你靈感?
很不幸，我没有！我当然很想去那里。我喜欢旅行，在发现新文化的同时认识新朋友，这就是旅游最棒的部分。
“Some Wear Leather, Some Wear Lace: The Worldwide Compendium of Post-punk and Goth in the 1980s” was a great read for us with amazing images giving the bigger picture about the movement. Do you remember how your interest started about it? What was your trigger to dig deeper into this subject? Do you consider yourself as part of it – if yes, tell us more about it, your beginning in it.
The gateway band was Depeche Mode—I think it is for a lot of people who are now in the goth scene. Their music is a perfect blend of melancholy and hope, which is something I’ve related to my entire life. At my first Depeche Mode concert everyone was wearing black! I’d never seen that before and immediately felt at home. That, and I saw Robert Smith of the Cure wearing lipstick and I immediately fell in love. Like I mentioned, I tend to obsess over music and, while I was doing research further into 1980s goth subcultures, I realized that there were no books that were specifically dedicated to that decade of goth. So, while I was in graduate school, I began writing the book I wanted to see. And yes, I would say I am deeply immersed in the goth scene here in NYC and
the US / Europe. Before I moved to NYC, I had found my community on the internet through Facebook. But once I moved to NYC, I began going to weekly parties where I met a lot of friends.
“有些人穿皮衣，有些人穿蕾丝：80年代后朋克和哥特的全球简编“对我们来说是一本很好的读物，惊人的图片让我们了解了这场运动的全貌。你还记得你是如何开始对它产生兴趣的吗？是什么触发了你对这个主题的深入研究？你认为自己是其中的一部分吗–如果是，请告诉我们更多关于它的信息，你的开始。
乐队是Depeche Mode我想对于很多现在在哥特场景中的人来说是这样的。他们的音乐是忧郁和希望的完美融合，这也是我一生都在关注的东西。在我的第一场Depeche Mode演唱会上，每个人都穿着黑色的衣服! 我从来没有见过这种情况，立刻就有了宾至如归的感觉。还有，我看到Cure的Robert Smith涂着口红，我立刻就爱上了。就像我提到的，我倾向于迷恋音乐，当我进一步研究1980年代的哥特亚文化时，我发现没有专门研究那十年哥特的书籍。于是，在我读研究生的时候，我开始写我想看到的书。 是的，我会说我深深地沉浸在纽约和美国/欧洲的哥特场景中。在我搬到纽约之前，我是在互联
网上通过Facebook找到我的社区的。但是当我搬到纽约之后，我开始参加每周的聚会，在那里我认识了很多朋友。
Before the COVID break out you were touring in Europe many times. What is your favourite party/parties to DJ and why?? How would you compare scene in New York city to Berlin or other European cities ?
I love, love DJing Eastern European cities because of the unique experience and hope to do more of that once we can all be together again. But some parties that stand out to me is Wraith in London because of the full-on creativity and energy of its club-goers—this party feels like the future. Secondly, Drøne in Manchester was incredible because it was set in a dilapidated garage with so much fog you couldn’t see a foot in front of you. It’s also curated incredibly well. I also love DJing yearly at the goth festival, Wave Gotik Treffen, in Leipzig with the a+w family. The scenes are very different. Here in NYC and the US, I don’t get booked often for techno parties. What I DJ is often separated from the traditional club scene—I usually get booked for industrial, 80s, or goth parties. In Europe, however, I think the type of music I play and produce fits in more with club culture. I think the US is catching up in terms of catering to darker electronic music but we’re ot quite there yet.
在COVID出现之前，你曾多次在欧洲巡演。你最喜欢在哪个派对上做DJ，为什么？你觉得纽约的现场和柏林或其他欧洲城市相比如何？
我喜欢，喜欢东欧城市的DJ，因为独特的体验，希望一旦我们都能再次相聚，就能做更多的事情。但有些派对让我印象深刻的是伦敦的Wraith，因为它的俱乐部观众充满了创造力和活力–这个派对感觉就像未来。其次，曼彻斯特的Drøne是不可思议的，因为它设置在一个破旧的车库里，雾气缭绕，你根本看不到前面的脚。它的策展也非常好。我也喜欢每年在莱比锡的哥特音乐节Wave Gotik Treffen和a+w家族一起做DJ。 场景是非常不同的。在纽约和美国，我并不经常接到电子乐派对的预约。我所做的DJ通常与传统的俱乐部场景是分开的–我通常会被安排去参加工业、80年代或哥特派对。然而在欧洲，我认为我演奏和制作的音乐类型更适合俱乐部文化。我认为美国在迎合黑暗电子音乐方面正在迎头赶上，但我们还没有达到这个程度。
Do you believe everything will come back to normal or do you consider there will be lot of changes in the music industry due to the pandemic?
There’s no way everything can be back to what we considered “normal.” Venues—many of our workplaces, places of safety and comfort—have disappeared. And if they haven’t yet, they’re in dire need of support in order to stay open. I think the loss of clubs and venues will take a toll on the very core of the dance music scene but I also think that people will be excited and supportive when it comes to events in the future.
你相信一切都会恢复正常，还是你认为音乐行业会因为这场大流行而发生很多变化？
一切都不可能恢复到我们认为的 “正常 “状态。场所–我们的许多工作场所，安全和舒适的地方–已经消失了。如果它们还没有消失，它们也急需支持才能继续营业。我认为俱乐部和场地的消失会对舞曲场景的核心造成损失，但我也认为，未来人们在举办活动时，会感到兴奋和支持。
How your story with “Synthicide” started? The party was always hold in Bossa Nova Civic Club? Who were your favourite guests you still remember them how they performed ?
SYNTHICIDE began as a Sunday happy hour goth, industrial, and dark 80s party. I had been unhappy with how divided the scenes were in NYC and the way rules were attached in regards to dress and hierarchy. I created SYNTHICIDE as a safe space for anyone to attend and dance without judgement. It did start at Bossa Nova Civic Club but eventually it grew to other venues, as well as other cities, including Berlin. It’s no longer a goth party, per se, but retains the dark spirit of the subculture and a lot of goths attend. I love the mix of people that come to SYNTHICIDE events. My favorite party at Bossa was when Silent Servant played the 3 year anniversary. It was the turning point for SYNTHICIDE—it felt like the party could now be considered as a serious staple in the NYC scene. In 2019, we had Daniel Miller of Mute / The Normal DJ, which was a surreal moment I never thought
would happen. Another milestone was one of SYNTHICIDE’s very first live events with Schwefelgelb at Saint Vitus Bar, a place that is now an important part of the SYNTHICIDE story. But I believe the most fun I’ve ever had at an event was when Light Asylum played live to a sold out audience in the basement at the now-shuttered Brooklyn Bazaar. It was so raw and powerful: Shannon Funchess owned the crowd. It was one of the most amazing and punk performances I’ve ever seen.
你和 “Synthicide “的故事是怎么开始的？派对一直在Bossa Nova Civic Club举行? 你最喜欢的嘉宾是谁，你还记得他们的表演吗？
SYNTHICIDE开始于一个周日快乐时光的哥特、工业和80年代的黑暗派对。我一直对纽约市的场景是如何分裂的，以及在穿着和等级方面的规则感到不满。我创建了SYNTHICIDE，作为一个安全的空间，让任何人都可以参加，并且不受评判地跳舞。它确实是从Bossa Nova Civic Club开始的，但最终它发展到了其他场地，以及其他城市，包括柏林。它本身不再是一个哥特派对，但保留了亚文化的黑暗精神，很多哥特人都会参加。我喜欢来参加SYNTHICIDE活动的人的组合。我最喜欢在Bossa的派对是SilentServant在3周年纪念日的时候。这是SYNTHICIDE的转折点–感觉这个派对现在可以被认为是纽约现场的一个严肃的主旋律。2019年，我们请来了Mute / The Normal DJ的Daniel Miller，这是一个超现实的时刻，我从未想过会发生。另一个里程碑是SYNTHICIDE与Schwefelgelb在Saint Vitus酒吧的第一次现场活动之一，这个地方现在是SYNTHICIDE故事的重要组成部分。但我相信我在现场活动中最开心的一次是LightAsylum在现已关闭的
BrooklynBazaar的地下室为观众进行现场演出。它是如此的原始和强大。ShannonFunchess拥有了观众。这是我见过的最惊人的朋克表演之一。
As we know you are also a writer for such a great platform post-punk.com , how did you start your journey with them ?
After my book came out, it seemed like the next logical place for me to write and get my footing in the music journalism world. I’ve written for many other publications since such as Dazed, Bandcamp Daily, Red Bull Music Academy, Numero Berlin, and Noisey (to name a few), but grateful to post-punk.com for giving me that initial opportunity.
我们知道你也是post-punk.com这样一个伟大平台的作者，你是如何开始你的旅程的？
在我的书出版之后，它似乎是我下一个顺理成章的写作和在音乐新闻界立足的地方。此后，我为许多其他出版物写过文章，如Dazed、Bandcamp Daily、Red Bull Music Academy、Numero Berlin和Noisey（仅举几例），但感谢post-punk.com给我最初的机会。
How do you see goth culture in Asia compare to it’s origin?
There are some amazing 80s post-punk bands in Japan (Madame Edwarda!) and, of course, are visually stunning! I think that Asia has a unique fashion outlook on the subculture and a commitment to it that is unparalleled.
你如何看待亚洲的哥特文化，与它的起源相比？
日本有一些令人惊艳的80年代后朋克乐队(Madame Edwarda!)，当然，在视觉上也很震撼! 我认为，亚洲对亚文化的时尚观和对亚文化的投入是无与伦比的。
What was your weirdest show you have ever experienced or you were part of it?
I played a BDSM party in New Orleans a few years ago that was held in a huge warehouse building. The DJ setup was lit by car headlights behind a chain link fence. With the fog, there was a John Carpenter vibe in the lighting and atmosphere that was so fun—weird, but in the best way possible.
你经历过或参与过的最奇怪的节目是什么？
几年前我在新奥尔良举办了一个BDSM派对，是在一个巨大的仓库里举行的。DJ的设置是由汽车前灯在铁丝网后面照亮的。在雾气中，灯光和气氛有一种John Carpenter的氛围，非常有趣–怪异，但却是最好的方式。
Interview 作者：: Izabella Chrobok
Translation 翻译: Emi & Han
Photos照片： www.keyi.eu KEYI STUDIO
Link to print copy US:
https://www.magcloud.com/browse/issue/1925837
Link to print copy Europe / Russia:
https://www.peecho.com/checkout/158887660228946068/985453/keyimagazine-22nd-ancientmethods-
