Hiroko Yamamura talks about her origins, Chicago, industrial dance music and being the underdog in a Q&A ahead of her first visit to Oslo
Chicago native Hiroko Yamamura is no ordinary Chicago DJ. Her raw, jacking sound, moving between House and Techno has made her a happy outlier to the stereotypical Chicago sound. An extensive career stretching back to the early 2000’s, Hiroko has been a recondite figure for most of her career.
A DJ that enjoys those ”anonymous spaces” and somebody that enjoys working behind the scenes in the studio, Hiroko Yamamura had been a delphic talent and it’s only in reason years that she’s become a sought after DJ on the international circuit.
It coincided with the end of a hiatus, when none-other than Seth Troxler encouraged her back to DJing and production while insisting she takes it more seriously. In this second phase she’s enjoyed a busy schedule, playing around the globe, stopping regularly at the likes of Panorama Bar.
Coming through Chicago’s industrial scene, while also acknowledging the city’s rich House music legacy, Hiroko Yamamura embodies a diverse mix of musical traditions that she channels into infectious and energetic DJ sets. Whether DJing or making music, her machine-driven aesthetic is gritty, yet groovy, channelling Chicago’s musical legacy through her eclectic tastes.
A self-annointed “meme-queen” and yet introverted, Hiroko Yamamura is something of an enigma. A DJ that doesn’t like crowds, she much prefers the solitude of the in-doors, yet she looks right at home in a DJ booth.
She arrives at Jaeger for Frædag in her first visit to Oslo, and before she gets here we sent out some questions to find out more about this dichotomy of a DJ and her unique musical development. We talk Chicago, Industrial music, Djing and more with Hiroko Yamamura.
Hello Hiroko. Thank you for taking the time to answer our questions. Where are you at the moment and what are you listening to?
I’m having a nice night in the studio tonight, actually listening to one of my favorite Chicago bands, Smashing Pumpkins album “Gish.”
Skating, video games, anime and comics, are things that you’ve often mentioned as interests beyond and before music. When and how did music start to hit a nerve and how was it different from those other things?
Really music has been a big part of all of them. I became interested in making music, often with the goal of being in video games. Skate boarding for me was a big part of where I met new people and was exposed to new punk and industrial dance music. Comics and anime were very much an escape from it all, reading time is generally silent , but I do love my anime sound tracks.
You grew up in Chicago, which has a history steeped in music, but your trajectory was different from most DJs from the city with industrial sounds making that first impression. We know a bit about the House scene in the city, but what was the industrial scene like?
Chicago was home to one of the greatest labels “Wax Trax”, which featured really amazing and experimental industrial music that often crossed into dance music territory. They also had a store where the staff was amazing at suggesting the newest electronic sounds. I’ve always leaned towards the rawer sounds that industrial presented, and was aligned with me trying to be an edgy teen trying to be cool. House music had a huge influence on industrial music sounds, and many DJs mixed them together.
Was it similar to what was happening in the rust belt with the trenchcoat kids in the early 90’s?
I think it might be something similar, I was a kid from the suburbs looking for a subculture and some scene to be part of. I can’t stress how lucky we were growing up with the amazing music from Chicago. What’s surprising is how much the scenes blended together.
Chicago is probably best known for House and Techno music in our time. How did that legacy start making an impact on you?
We were lucky to have the best house DJs like Bad Boy Bill, Farley Jackmaster Funk and countless others on primetime commercial radio, so we go to hear the best music all the time. I really was introduced to techno by DJ Hyperactive when he was the buyer at a local record shop. I got to go to some legendary dance clubs and enjoy the finest DJs.
When you started delving into music, did drum machines and synthesisers or DJing come first?
DJing came first, as access to equipment was limited and DAW systems were very rudimentary and complicated when I started. Once Logic and Ableton became accessible I was obsessed, and having knowledge of the programs actually got me into many legendary studios early, just to give technical support. The big change for gear came in 2013 when Korg released their Volca series, and started selling affordable but powerful equipment. I would say when Roland came out with the TR8, I shifted completely to hardware at the time as we could get that classic Roland sound and workflow without the superstar DJ budget.
And how did one lead to the other?
Production began with me learning to record bands, and actually make joke songs with friends. After DJing a while, you would soon find that there were aspects of songs you didn’t like, or you wish there was something added to it. My journey then changed to trying to make the version of tracks that had those aspects, but because I wasn’t great at the tools, something original would come out.
You consider yourself as a member of the 3rd wave of the House/Techno movement. What was happening in terms of dance floors and the music around the time you were starting to DJ actively?
I got to see the initial scenes come and go, and what music and artists lasted. Once raves moved into the club scene, I got to see how artists survived the transition and which stayed the course. I would say I was lucky to see from my heroes what not to do. Seeing things come and go, you learn there is nothing permanent and nothing is owed to you. Most importantly, the fact that good music stands the test of time, even if people do not.
It’s said that after taking a break, it was Seth Troxler who pushed you into taking Djing more seriously. Do you remember that conversation and how do you eventually take Djing more seriously?
I can’t say enough about how much Seth has changed my life and helped my career, but his encouragement saying that I was a good DJ and producer, and that I should take what I do seriously left an impression. Sometimes it just takes a few people in life to say what you are doing has some value to change everything.
What did the pause change in terms of your approach to DJing and music when you came back to it?
I got to see how the scene changed, especially when it changed from only a few people with access to the ability to make music, to almost anyone being able to do it. I also was able to see trends come and go, and the key differences between artists who pursued DJing with good intentions instead of looking at it as a career. The gap between popular DJ and hobbyist used to be vast and unobtainable, most only had a chance with significant industry support, investment and established relationships. That all changed.
You’re more eclectic than the average Chicago House DJ, and I assume that’s coming from a youth spent listening to the likes of Front 242 and Ministry. How does this unique perspective influence the sound of your DJ sets today?
I think I’m lucky to have a diverse background, and just like good music. Genres don’t mean much to me, and are mostly there for consumers to shop easily. I think I also approach things from the direction of the underdog and have really never been part of any group.
Is there something sonically that should tie a Hiroko Yamamura set together?
I think there’s always a story in a set, and it should be a good time. Some new music, some classics, and always some bangers.
I’ve read interviews where you call yourself something of an introvert. Are you still a bit of an “in door kid” and how does it affect your relationship with a crowd on a dance floor?
I think a big reason I’m a DJ is because I’m not good at being in crowds and not much of a dancer.
Conversely, you often mention your love for the internet, even adopting the title “meme queen”. How do you consolidate the introvert part of your persona with the social media aspects of being a DJ today?
I treat them completely separately. You have to remember social media isn’t real life. So I just post things I enjoy. I don’t like seeing advertisements or videos of DJs talking about themselves, so I avoid it when I can, but you know, there’s always a bit of sharing you must do. I am more comfortable at home behind a screen than most places, but I do enjoy a proper party.
One element of dance music that Social Media doesn’t always capture is the underground club. You’ve mentioned in the past that this is where you thrive too. What is it about those small spaces with big sound systems that appeal to you?
I think the idea that you are more anonymous in those spaces, and the small talk is at a minimum is nice. It varies from space to space, but it’s also nice to see familiar faces after attending venues regularly.
And where would that be at its most rewarding at home in Chicago?
I can’t say I have a favorite club, but you’ll often find me at Smart Bar, Smoke and Mirrors and Spybar.
What would you generally pack for those shows and how would it be different if you’re doing a bigger room or an outside stage?
I usually bring the same things, maybe an extra diet coke and an extra pack of smokes for a bigger show.
Any particular treasures you would want to play for the Norwegian people?
I don’t really plan my sets in advance, but I hope to share my favorite music that makes me happy with you.
Thank you for answering our questions Hiroko. Is there anything you’d like to add?
I’m so looking forward to visiting Norway for the first time!