Jonas Yamer is a Munich based audiovisual artist and musician and one of the cornerstones of Munich’s current electronic music scene. Be it as a DJ that often performs at Blitz and consistently delivers dystopian dancefloor delights, as part of the stunning Post-Techno band Carl Gari (who have performed at festivals such as Rewire, Berlin Atonal and Ritournelle right here at Blitz), as an audiovisual artist and as the mind behind Munich’s Molten Moods imprint.
Molten Moods just recently released their new compilation MM16 – we sat down with Jonas ahead of his performance at Blitz on Saturday, the 6th of January alongside Rebekah and Hadone to talk Molten Moods & the new compilation, the Munich scene and a few more things.
We highly recommend you give MM16 a spin while going through the interview.
https://moltenmoods.bandcamp.com/album/molten-moods-16
And make sure to follow Jonas Yamer as well as Molten Moods on social media for new releases, gigs and much more.
https://www.instagram.com/jonasyamer/
https://www.instagram.com/molten_moods/
Here’s a quick one to start: for anyone who hasn’t heard of molten moods yet – what is MM 16 and Molten Moods all about?
Electronic music that ventures into various realms with genuine curiosity.
What connects the music and the artists on MM 16?
I have been collaborating with some artists for quite some time, such as LUCKER, crouds, and, of course, David Goldberg, who is represented on the compilation with his new project QNRG. He has been shaping the label for many years as a producer and visual artist. At the same time, I aimed to bring new artists to the label whom I found intriguing recently, such as Polygonia, Lazarus and Glaskin. While there is a certain focus on Munich, it’s not about local patriotism but rather because I have been living in the city for many years and have personal connections with artists here. Another focus is on techno, but it was important to me not to create a smooth dance music compilation. Tracks like “Anthocyanin” by Ark Noir or “Decomposing” by Rosa Anschütz add a touch of diversity, making the compilation as a whole eclectic, in line with the general spirit of Molten Moods.
And aside from musical terminology – how would you describe the music to, let’s say your grandparents or to anyone, that’s not familiar with electronic dance music?
Music that pulls you in, takes you on a journey, and ideally releases you somewhere along the way. Repetitively arranged music, blending recorded sounds with digital and analogue sonic instruments, heading for the goal of sonic intoxication.
Aside from the consistent quality of the tracks – is there any music piece worth noting, maybe a piece that surprised you, a special collaboration, an unusual personal connection?
“Loutioreitaer”, by L_ue stands out with its conceptual musicality, especially considering that it is Luis’ very first released track. What a debut! I also resonate with GAEL’s track; it’s a techno piece that somehow carries a gritty garage punk vibe. Perhaps it’s because, like me, she also does guitar music alongside her techno project. Nothus and Cressida dropped their first collaboration, “Nightshade,” on MM16, and it’s absolutely sick.
Molten moods has been around for a few years now. How does MM 16 reflect on MM‘s development as a label, where does it stand in club culture’s current climate, and where might MM go on from here?
Molten Moods has evolved with the musical development of its artists. The releases interconnect, but don’t follow a serial pattern. I find it fascinating to engage with new movements; there are gems (almost) everywhere.
There are a lot of thrilling contributions from artists in and around Munich. What are your thoughts on the local scene right now? And is there any development, a movement worth noting right now? Where do you see it heading right now?
I appreciate the vibe that has emerged in recent years. It’s a small but vibrant community of artists who often know and support each other. In my circle, it’s not about being cool; it’s about the sound. Moreover, there are interesting connections between electronic music and jazz. I can’t pinpoint a typical Munich sound, but in the future, I believe house will replace the current hard techno trend. The pendulum will swing in the other direction again. This may not be exclusive to Munich, but the city will likely embrace it early.
Tell us more about your personal contributions to the complication?
I created “Save Me” with my longtime friend Rosa Anschütz right in the midst of the pandemic. I recall the fun we had jumping around in my apartment while crafting this intentionally catchy track. Despite its ironic undertones, the song also reflects a genuine sense of despair and powerlessness. I’ve been good friends with Julian aka LUCKER for a few years. During a session at his home in Berlin, I sang the four-part choral over the incredibly destroyed beat of “Spiraling Ploddingly”. It marks the beginning of other releases with vocals from me. We’re also currently working on a Carl Gari album where I’ll be taking on the role of a vocalist.
Last questions incoming – are there any events planted to celebrate the release? Where can we catch you and the MM contributors next?
Catch me on January 6th at Blitz!
Final question: aside from personal connections and self promotion, networking, etc – what piece of music is on your personal heavy rotation right now? Tell us more about what you adore about it, too!
Aluk Todolo – Voix
Loek Frey – Add Interaction
Spasms and Savagery (30 Years of Downwards)