Human Mesh Dance
Inspired by everything from New Order and Howard Jones, to Cabaret Voltaire and Phuture's "Acid Trax", Taylor has been enamored with electronic music since purchasing his first synth, a Juno 106, at age 15. 1993 was Human Mesh Dance's year zero, as Hyaline was released on Instinct. Last year saw the second, more polished, Mindflower. HMD's sound is as subtle as it is beautiful - nothing is gratuitous and the music is nothing short of intriguing.
Resonance: What has influenced you as Human Mesh Dance?
Taylor: I think for the most part it's my moods and surroundings. Sure there are bands that, over time, have had an influence on me. But usually it's the weather, the light, the clouds, or a cool sound I've just made, that affect my music the most.
Resonance: What are the primary artistic differences in the two HMD releases?
Taylor: Hyaline is a collection of tracks I had lying about when I first got signed to Instinct. Today I'm not too happy with that record, I feel as though I have progressed so much that it seems old to me. Mindflower on the other hand is a much more focused album, and a much stronger one. It doesn't have much of a concept - I don't always like working that way. The music I do as HMD is more mood music, created to induce certain moods or feelings. I have so many new ideas (now) that the next record might be completely different, at least I want it to be.
Resonance: The music of HMD has a very subtle quality that sometimes isn't immediately apparent. I notice this approach in both albums despite their differences - can you explain this?
Taylor: I feel my music always has a subtle quality to it and that's a conscious effort on my part when I write. I think Mindflower is a very gentle album and... it goes with my personality. I'm a very shy person and often hard to figure out at first. I think my music is the same way.
Resonance: While working on you own are you easily satisfied, or hypercritical, about your work?
Taylor: I'm glad you asked me this because it's something I'm always thinking about. I'm so hard on myself, and so critical, that it becomes annoying. I never listen to it... maybe twice a year I'll put on a CD of mine. It's not that I think my solo music is bad... not at all. I just find myself picking it apart too much when I listen to it. It's nearly impossible to step away from - to hear it as someone else. I wish I could do that.
Resonance: Is it inevitable for an artist/band's sound to change over time?
Taylor: The progression... is inevitable, yet often criticized. As a musician I understand the desire to experiment with different sounds (and) the need to change to make more money. Bands may lose an older audience when they change but they often gain a new one, so who's to say that's a bad thing?
Resonance: Why is music important to you?
Taylor: Because it is my strongest form of communication (and) creative outlet... listening and creating music both involve dozens of moods, and provide me with a sort of spiritual grounding to myself.
SETI vs. Prototype 909
When not working alone, Taylor, like many of his contemporaries, has been known to indulge in various collaborative projects. From the spooky, spacey minimalism of the SETI project, to the brutal acid experimentation of Prototype 909, they explore new, interesting territory. SETI, born out of a desire to work with friend Savvas Ysatis (from Omicron), has released two albums of music related to the research project trying to pick up radio signals/leakage from alien civilizations.
Resonance: Can you provide the relevant background behind this project?
Taylor: We wanted (to do) some kind of conceptual thing, so we phoned my cousin who is a conceptual genius, and asked him for ideas. He called us back and told us about SETI. Savvas and I thought it was a great thing to write music about, so with a basic knowledge of the subject, so went and captured what we felt was the mood of such an adventure.
Resonance: What was the initial reaction from the SETI institute upon hearing the release?
Taylor: One day I got e-mail from the PR person at the SETI Institute in California - he'd found the CD at Tower Records... I was kind of nervous because I thought he'd be pissed we took the name... but, it was just the opposite, he thought it was one of the coolest records he's heard and was eager to learn more about us. We ended up working together with the Institute for the second release Pharos. They supplied us with a bunch of information and sound sources from outer space, (along with) spoken word interviews and radio transmissions.
On P909 live gig at the Stone Pony, a Jersey rock club
"It was hysterical... a couple of hundred New Jersey rocker guys with beer, listening to us distort the fuck out of everything on stage... their mouths kind of hung open. We played for about ten minutes, then bolted out... I think we did a good job of scaring them".
Inspired by Roland's infamous tb-303, Prototype 909 attempts to move acid one step further. From the brutal edges of Acid Technology to the smoother, friendlier surfaces of Transistor Rhythm, P909's is a sound that is continually in flux.
Resonance: Transistor Rhythm definitely explores new territory, how did you, Dietrich and Jason come to decide on the sound for this release?
Taylor: Transistor Rhythm is an album that incorporates much more equipment and is more thought out... it isn't as experimental as Acid Technology... but, we felt we had done that already and wanted to move on. We wrote... with a better knowledge of how to work with our non-MIDI system, and a year later compiled the album - which, like Hyaline, is pretty much a compilation of tracks.
Resonance: Do you use any digital equipment in P909?
Taylor: We choose to stay mostly analog when we write as P909. It takes a lot of practice to work in a live fashion as we do, and it's especially hard to coordinate three people in the studio. A lot of arguing happens... but, in the end I feel it strengthens our music.
Resonance: Are you more, or less, critical of the finished product when working with other people?
Taylor: I find that I'm far less critical, maybe because that extra person is there to bounce ideas off of and to get confidence and support from. When I listen to it later, if I'm not totally happy with it, I only have myself to blame for half of it!
Resonance: The song "Believe" (off Transistor Rhythm), with its repeating sample of "believe... future... understand", implies a message of embracing technology. What is P909 trying to say in this song?
Taylor: Just as you said, it's about embracing the future... and is one of the only P909 songs with any "meaning". For the most part our songs are about being happy, dancing, capturing the vibe, and toying with techno-tools.
Resonance: What are your views regarding substances, illegal or otherwise, in recreational and artistic-creation contexts?
Taylor: Let's just say that I personally don't need them. Putting chemicals in my body, with really bizarre and uncontrollable side effects, isn't my idea of fun. I've seen too many people looking way too burnt out by the time they're in their early 20's... that's pretty scary. Don't you think it's sad when people say they need drugs to have fun at a rave?
The Scene... etc.
Exploding into everything from fashion, to major label record deals, to parties run exclusively for profit, the "scene" today is growing in all (the wrong?) directions. Sometimes it makes one wish things were simpler...
Resonance: Do you consider the rave scene an important part of electronic music culture?
Taylor: I think there are two parts to the electronic music (sub)culture: one would be the raves, DJ's and trends; the other the artists and albums. I think raves are tremendously important for real underground music and for kids to get excited about new songs/sounds; however, most of these kids do not buy CD's or spend money on music - they seem content with DJ tapes, or just hearing the music out on the weekends. Because of this, the music is suffering a great deal, as artists are having a hell of a time trying to sell records, and the record companies are getting frustrated because the people who really care about the music aren't buying it.
Resonance: Why do you suppose there is such a difference in perception and appreciation of electronic music between European and US audiences?
Taylor: Techno music is normal in Europe. It's not a subculture like it is in America. More of the public is aware of it... this leads to greater respect of the music. The people (who like techno in Europe) are just PEOPLE, they're not ravers. They spend more of their time getting into the music, and buying it, than worrying about which drugs are cool and which clothes are cool. I think that's the source of the difference.
Resonance: What are your views on the current buzzword genres in electronic music; i.e.: ambient, electro, jungle, trip-hop...?
Taylor: They're marketing words (that) often become merged, or vanish so quickly, I don't really bother to pay attention. The only genre that really bothers me is trip-hop. I don't like how everyone is sampling rap beats again, I mean, that was done a few years ago by bands like Meat Beat Manifesto and Consolidated - it's nothing NEW. It's a trend I hope will fade away soon.
Resonance: If you had to choose ONE of your musical projects to be involved with, which would it be?
Taylor: Well, I'd stick to being solo. If I was only allowed to do one thing for the rest of my life, it would be nice to do whatever the hell I wanted... to have no one's rules but my own. 
Taylor, as well as information on the HMD/P909/SETI newsletter, can be reached at t808@phantom.com.
Resonance: How much of a gearhead are you?
Taylor: I live and breathe gear and really believe in programming (erase all those presets everyone!!!)
Resonance: Is loyalty to Roland the last word, or...?
Taylor: The only reason to use so much Roland gear is for the interface it provides. It's so live... being able to run everything in "write" mode with instant visual feedback of what's going on, and the ability to drop in sounds anywhere in a measure at any time. This has become the basis for the way prototype 909 works, but if other companies had implemented that kind of interface we'd be using them. Just for a change, we are trying to move away from the 808 and 909 thing - we're getting a little tired of the sounds.
Resonance: Opinions on MIDI vs. analog sequencing?
Taylor: Both have their advantages - modern software sequencing offers a lot of flexibility and very detailed editing, while analog sequencing is a bit more love and experimental. P909 might move to analog MIDI-based sequencers. We'd like to leave the old Roland gear at home because traveling really batters that equipment. We'd like to bring analog sequencers and samplers instead; however, we have to build a MIDI system that responds exactly like a non-MIDI one, so it will take a little planning.
Resonance: If you had to build a studio piece by piece, what would be your first five pieces of gear?
Taylor: If I were to build a studio from scratch I would start with something that was multi-timbral - the JD990 perhaps. After that I'd get an MPC3000 to do some crazy drum and bleep stuff, then a Jupiter 8, a TR-808 and finally the Wavestation EX... of course I'd need a mixing board, a DAT deck and some processing gear, too!
With emerging technology allowing for an inordinate amount of activity in significantly shorter periods of time, we are closing in on a new Renaissance. Everywhere one looks examples of individual explosions of creativity are prevalent - Taylor Duepree a.k.a. Taylor 808 is one such "exploding person".
From his graphic design work at Instinct Records and his musical excursions as Human Mesh Dance, to his collaborative efforts in SETI and Prototype 909, he's also one busy person. Friendly, open, self-effacing and modest, he's someone who deserves respect for what is becoming an impressive body of work.