On his latest release as Ultraviolence, Psycho Drama, Johnny Violent injects new life into the concept album. Released on Earache Records, the album unfolds as a “techno opera,” telling the story of a character named Jessica who is pursued by a hitman. Built from original spoken and sung performances rather than film samples, the album blends relentless, melodic techno with narrative structure, creating a cohesive and cinematic experience.
What have you been up to since the release of Psycho Drama and the tour?
Violent: “I completed an album under the name Johnny Violent called Shocker, which is much more pure high-speed techno than Psycho Drama. It’s very harsh all the way through. I just got a CD-R of it this morning, and once all the artwork is done it should be out in a couple of months.”
Why are you releasing it under the name Johnny Violent rather than Ultraviolence?
Violent: “The music’s quite different. The Ultraviolence stuff has become more complex and emotional, especially on Psycho Drama. I wanted to do something more direct and aggressive — something more in-your-face. It’s a different side of the music.”
What made you want to create an album with a continuous story?
Violent: “There was already a bit of that in Life of Destructor, my first album. That happened because the original Ultraviolence album wasn’t released — it had too many film samples. Instead of faking the samples, I got actors and singers to perform my own words, and I really enjoyed that process.
So with Psycho Drama, I decided to build a full story from start to finish. It made the whole process easier and more focused. It also made the album stronger. I’m not sure I’d do it again, but it worked perfectly for this one.”
Did you have the whole story planned from the beginning, or did it develop as you went along?
Violent: “I had the story in my head about six months before I started making the music. I developed it slowly, then wrote the script and the keyboard parts. After that, I brought in the vocalists to perform their roles, and then I finished the production. It was very story-driven.”
You mentioned problems with film samples in the past. How difficult is it to clear them?
Violent: “It’s almost impossible. Some labels just use them anyway, which is quite funny, but Earache doesn’t like doing that. Clearing samples can cost thousands of pounds for a single line, which is ridiculous. That’s why I prefer using my own words now — it’s much more emotional and personal.”
How did you end up signing with Earache?
Violent: “I was previously on a label called Food, which is a major label over here. They dropped me, and I was looking for a new deal. Earache is based not far from where I live, and they had a reputation for being extreme. I brought them a DAT of my tracks and they liked it. I thought they’d only be into guitar music, but they were actually listening to a lot of techno. I think I just came along at the right time.”
How long does it usually take you to complete an album?
Violent: “Psycho Drama took about seven months, from writing the script to the final mixdown. The Johnny Violent album didn’t take nearly as long — I can do tracks for that in a couple of days. Since it’s less complex, the whole album came together much faster.”
When you toured America with Cubanate, you performed alone on stage. Do you ever use additional performers?
Violent: “In the UK, I’ve had people on stage doing things like creating sparks and visual elements. But in the US, I preferred to perform alone. It’s more confrontational that way. I also don’t like pretending — I don’t want guitarists on stage just for show. Everything you hear is actually being done. That said, I’d like to expand things with performance artists to make the show more visually interesting.”
For live shows, do you use backing tapes or computers?
Violent: “I use DATs. I used to run things from computers, but it became pointless. You carry all this equipment around and it sounds exactly the same. There’s no real benefit. I just play the keyboard parts live — from the audience’s perspective, that makes the most sense.”
How do you decide which parts are played live and which are pre-recorded?
Violent: “I usually play the string parts and slower sections live. A lot of the fast, aggressive parts are too intense to play live anyway. That’s actually part of what I like about them — they couldn’t realistically be performed by a human.”
Have you ever considered using more sung vocals in your music?
Violent: “I’ve started doing that on my next album. I don’t like vocals running all the way through a track — I think they lose their impact. I treat vocals like any other sound: they should only be there if they’re necessary. I don’t like using them just for the sake of it. But I am expanding that side of my work.”
Do you usually finish the music before recording vocals?
Violent: “Often I record the vocals before the track is finished. I’ll give the singer something very simple to work with so they can bring their own feeling to it. Then I build the rest of the track afterward.
For example, the vocalist who plays Jessica on Psycho Drama doesn’t even like techno — she likes soul music. So I gave her something more soulful to sing over, then reshaped it afterward. That approach can create really interesting results.”
How do you think your music would be different if you had formal training?
Violent: “I think formal training can sometimes get in the way of creativity. The way I work is probably very different from how others do things, and I like that. Training can help in some ways, but with electronic music especially, creativity matters more. Sometimes accidents are the best part of the process.”
How did you first get into electronic music?
Violent: “When I was younger, I listened to punk and metal and played video games. Eventually I got a music program for my computer — a Commodore 64 — and I enjoyed making music more than playing games. I sold the computer and bought a keyboard, then later an Atari ST, which I still use.
Over time I realized I was channeling the same aggression I loved in punk and metal, just through electronic music. That’s what really pulled me in. At the time, I was listening to bands like New Order and The Sisters of Mercy — electronic music with an edge.”
