Something about anonymity makes Headless Horseman intriguing. But did you know he has been producing for more than 20 years and only recently, became one of the most talked about techno artists?
A well-seasoned producer and an equally great performer, Headless Horseman removed his mask to speak with us after his brilliant Movement performance at the Underground Stage. Â Â
Let’s start off with the basics, where are you from and how did techno find you?
I’m originally from New York, but I’ve spent the last 16 years in Berlin. I started playing heavy metal music, hardcore music with my guitar. I was in a lot of bands, but I was in a situation where it was hard to get people together for band practice.
One day I saw someone playing with records and a mixer after a late Sunday night show that we had just played. This was in the mid ’90s and I was like, “What is this person doing with this gear?” I was curious and started saving all of my change and bought a few vintage machines, turntables and started from there.
What inspired you to do techno?
I have always been into abstract sounds, sounds of nature, industrial sounds, metal sounds from playing the guitar, banging on pots and pans and all of this stuff. What I really loved about techno was the variety and that there are no real limitations to what you can do. There’s no set formula.
You can break the molds all the time and you can experiment, with an intention or without and utilize what you’ve made as if you’re throwing paint onto a blank canvas until you’re happy with what you’ve created. New colors, new textures. This is what I like about electronic music. It’s danceable, there is a kick drum and I like to tell the story with an atmosphere and a melodic structure and form to create something fresh to my ears and hopefully, that translates into the audience in the live situation.
Where did the name Headless Horseman come from?
I grew up near Sleepy Hollow, and so the legend of Sleepy Hollow has been ingrained in my head ever since I was a kid. Especially during Halloween, it was always fascinating. As I got older, about 7 years ago, I lost my father, I went through a divorce, just a really heavy time and I didn’t want to make music anymore.
I lost the urge and felt like I couldn’t be creative ever gain. However, by changing my mind state into this character, I was able to psych myself out and create music again with no boundaries. The name kind of came simultaneously with the situation I was going through of losing myself and finding myself. By shutting down who I normally am and putting this new facade on, I felt like I was invincible and I could create sound with no format. I didn’t have to start with a certain instrument and I didn’t have to tell the story like I did before because things got redundant. At this rate, I started with a fresh palette.
Was this your first year at Movement?
Playing the fest, yes, but last year I played an afters and I had a wonderful time. I visited the festival that year and was pretty amazed by the size and variety of the music. There is something for everyone here.
This time around, I had an excellent time playing the festival with a different form of nervousness since I played early in the day. It’s not dark and you absorb everything that is happening. It’s literally run and go. You run in, play, and get out for the next person. A good experience and I would love to come back. Â
What’s your favorite tool or instrument right now and how did it help you grow your skillset?
I use a lot of vintage instruments, but my favorite tool right now is this Native Instrumen