Harry Wills has steadily built a reputation as one of the most exciting and versatile producers in the underground electronic music scene. Known for his intricate blends of UK Garage, Breaks, House, and Techno, Wills has released music under various aliases, including Bernard Baum, BeeDeeBeeBee, and Brazen, as well as collaborative projects like Snoozin’ B and Phone Traxxx. Originally from the UK, Wills relocated to Berlin, where he has continued to develop his sound and cement his presence in the scene. With releases on esteemed labels such as Ba Dum Tish, Salty Nuts and a growing catalog of sought-after vinyl records, Wills remains a key figure in shaping contemporary electronic music. In this interview we discuss his artistic journey, life in Berlin, and his latest endeavors—including an exclusive mix for the art:cast series.
Torture the Artist: Hello, Harry, and happy new year! How did you kick off 2025, and what are your new year’s resolutions?
Harry Wills: Happy new year to you too! I started 2025 with a hangover, sitting in BER airport, waiting for a flight to London to play a private New Year’s Day party with Alec & Rob from Phone Traxxx and Dr. Banana. I don’t really believe in resolutions, so I’d say my goal is just to be better than I was last year.
There’d be no Bass without B—just ass.
Torture the Artist: From Bernard Baum to BeeDeeBeeBee, to Brazen and Beautifulplace, and then there’s Snoozin’ B… Harry, that’s a lot of B’s! I won’t ask for your favorite letter of the alphabet, but what does B have that all the other letters don’t?
Harry Wills: There’d be no Bass without B—just ass.
Torture the Artist: If we weren’t listening to your art:cast (our mix series), which comes with this interview, what would be the Bernard Baum track to accompany this interview, and why?
Harry Wills: I’ve had to go and take a listen to those tracks again – I’d forgotten how most of them went. I’d say Atoll (Beatless Mix) – I think it makes good reading music.
Torture the Artist: You’ve been living in Berlin, of course it had to be a city starting with B, for a moment. What was the crucial reason to leave the UK and settle in Germany? And, following the question before, are you in Berlin to stay or do you have plans to move somewhere else?
Harry Wills: It was a number of things, perhaps the biggest B of all of them, Brexit being the major driver. I wanted to take the opportunity to live somewhere else whilst you didn’t have to jump through too many hoops. I don’t have any plans to leave Berlin for the time being, I really like the neighbourhood I live in and there’s always plenty to keep yourself busy and occupied. I like living somewhere where you can more or less do what you want, whenever you want no matter the time or the day.
Torture the Artist: What are your three favorite record stores to dig for music?
Harry Wills: Based on where I’ve had most luck recently – Flugmodus, Latitude, and Elevate
I also found myself drawing on UK influences more than I perhaps would have if I’d stayed put in London.
Torture the Artist: Paradoxically, once an artist leaves his/her hometown it’s more likely to be booked there as well as the perception partly also the appreciation of the artist changes to a positive. On the contrary this means less bookings/ gigs in Berlin. What experiences have you made?
Harry Wills: Leaving the UK was definitely the right move for me as before when living in London nothing was really happening for me music-wise. I think a change of scene also changed my sound but I also found myself drawing on UK influences more than I perhaps would have if I’d stayed put in London. Regarding gigs in Berlin… I was living in Frankfurt before the Pandemic and it felt as if I was getting booked more in Berlin then, though things seem to have picked up a bit for me here in the past few months.
Torture the Artist: Generally, artists report that the amount of gigs has decreased (especially after covid) due to the fact that the booking policy of clubs has changed and also simply because clubs have or had to close. Personally, what has to change within the scene or what would be a first step for a brighter artist-future?
Harry Wills: A tricky question… I think that due to the importance of a social media presence/followings etc it’s made clubs and bookers more afraid to take risks with lineups. With things getting forever harder due rent increases/energy prices/cost of living I can understand why you’d feel you need to be able to rely on a sure thing by booking “DJ X” but I’d also be interested to know how much of that following converts into ticket sales. Since the pandemic people are consuming dance music in a completely different way, there’s an infinite supply of livestreams and mixes, so you never need to leave your house to be completely plugged in and aware of what’s going on. You can curate your perfect lineup from the comfort of the sofa.
Torture the Artist: Berlin’s electronic music scene certainly covers all kinds of genres, but overall people always speak of Berlin as the Techno capital as well as a techy sound, which is played in quite some clubs. How does this correspond with your “sound-preference“ and have your productions changed sound-wise ever since you moved to Berlin?
Harry Wills: I think your sound and taste is always going to change no matter the circumstances, it would get boring to make the same track over and over again, just in the same way as you don’t want to keep playing the same records. I think the great thing about here is that whatever music you’re in the mood to listen to, you can always go out and find it being played somewhere.
Torture the Artist: Speaking of your sound and following the question before, when, where and how did you become infected with electronic music? Or was it even inevitable not to become involved with the music living in the UK?
Harry Wills: My first introduction was from smoking weed in a friend’s bedroom, his brother (shoutout to Jaxson Payne) had a little studio setup in the room next door, so we’d hear him working on tunes and be listening to Aphex Twin, Sqaurepusher, Venetian Snares etc. Hearing the stuff that he was alongside the Aphex/Pusher CD’s we were listening to made me want to get involved, so I got hold of a cracked copy of Reason and I’ve been at it ever since.
Torture the Artist: UKG, Breaks, a touch of 2Step, Tech- and House are some of the directions your productions take. When and how do you decide what kind of track you want to produce when sitting down on the studio?
Harry Wills: I’m never sure what’s going to happen, that’s what makes it so fun. It’s very rare that I’ll go in with a set plan/goal of what I’m looking to achieve. I find that going in with a mindset of today I want to make X never really gets results, it’s best for me to just run with an idea and see where it leads. I’m not one to use reference tracks, again it works for some people but it just feels like copying to me.
Torture the Artist: What’s a track you wished you had produced because it simply covers most or everything you love/ enjoy about electronic music?
Harry Wills: There’s too many answers to this question but one that I always find myself returning to is Squarepusher – Tundra – An overarching feeling of melancholy, amens, huge sub bass and an arrangement that always feels like it’s about to fall apart but somehow stays in one piece – what’s not to like?
I feel that when you make something solo there’s less pressure involved.
Torture the Artist: You are part of Snoozin’ B, alongside Alec Falconer, as well as of Phone Traxxx, also with Alec and Rob Amboule, and and you go/ produce solo. What’s something you enjoy solo over a duo and a trio and vice versa?
Harry Wills: When you write music solo it’s very easy to get stuck in your ways. The beauty of working with other people is that they will always surprise you with ideas you wouldn’t ever think of, or execute them in a way you wouldn’t have thought to try. With making music with Alec & Rob, we’ve all been at it for so long that we know each other’s strengths and weaknesses so it’s kind of second nature when we make tunes together. I feel that when you make something solo there’s less pressure involved, there’s no real need to finish things quickly. I’ve always got a few ideas on the go, or I’ll go back to something and take a bit of it and add it to something else – when you’re working with other people time is more finite, which can be a really good thing as it keeps you task orientated and on track.
Torture the Artist: You and Rob Amboule are both based in Berlin, while Alec Falconer lives in London. Do you guys produce music remotely or have actual studio sessions when you see each other?
Harry Wills: We’ve not really tried anything like that yet, we try to schedule in a couple of days here and there when we’re all together. There’s no substitute for all being in the room together.
Torture the Artist: Phone Traxxx Vol. 6 was also released not long ago and the vinyl comes with a little feedback sheet, which – if filled out – and sent to your Instagram, qualifies one to receive a copy of the next Phone Traxxx. Firstly, are you guys already working or even finished #7 and secondly, what’s a memorable feedback you have received?
Harry Wills: I’d feel confident saying that we could put another one out tomorrow, there’s definitely enough music from the three of us that’s potentially earmarked for Phone Traxxx, bits from the liveset that could be fleshed out into full tracks or other tracks we have that fit the vibe.
Feedback – yeah we’ve had some good ones, I can’t remember any off the top of my head it was maybe 3 years ago that the last record before Vol. 6 came out – we’re waiting on some responses for the new record.
Torture the Artist: Except Rob and Alec, who would like to share the studio with, and why?
Harry Wills: I’d love to have been in the studio whilst Donald Fagen & Walter Becker were working on a Steely Dan album. For electronic music – excluding Aphex, then Skee Mask, I’ve been listening to a lot of Efdemin recently, so him – I think Prince of Denmark would be an interesting one as well, I went back and revisited all of that stuff the other day, it’s still just as good as it was the first time around. Recently, I’ve been making a lot of music with Enchanted Rhythms and that’s been a great experience – watch out for an EP coming later this year. <winks>
Torture the Artist: What’s the Harry Wills signature sound/ esthetic we will never hear in a colab track but only under your solo-alias?
Harry Wills: Probably stuff that’s a bit more sound-designy, that’s something you can only really get into when you’re on your own and have the time to go down the rabbit hole.
Torture the Artist: At the end of 2024 you released and EP on Fabe’s label Salty Nuts called “Heads & Volleys“. What’s your favorite football club and which of the tracks is a header or a volley?
Harry Wills: I’m a Chelsea supporter but I’m pretty fair-weather about it these days. I think the Header is the B1 – Encounters as it’s quite a physical track, the volley would be the A2 – Cruisin’
Torture the Artist. Who’s going to win the championship?
Harry Wills: The way things are shaping up Liverpool and in Germany probably Bayern – maybe Harry Kane will finally get to lift a trophy.
Torture the Artist: Besides producing music with various people under various aliases you also give production classes. Do those classes help yourself to re-think your own production habits as students might come up with a different approach on music?
Harry Wills: Yeah, I was doing a lot of these during lockdown when everyone was stuck up inside, I’m doing them more on an as and when basis these days if someone gets in touch. It’s always interesting to see how other people work and no matter how far along people are with their journey you can always take things and apply it to your own work. Additionally, I enjoy looking at decisions people make before they become too aware of the “rules of production” – when you disregard or aren’t aware of norms you can get really interesting and unique results.
I’ve also been taking on some mixdown work from artists which I’ve been enjoying. I can put way more care and attention into someone else’s mix but with my own I’m a bit more slapdash.
I could be happy forever just fiddling about with Bitwig and making weird noises.
Torture the Artist: Producing music, giving classes, DJing, do you prefer one thing over another? And how and where do you give yourself a treat outside the “music business“?
Harry Wills: I could be happy forever just fiddling about with Bitwig and making weird noises, this is basically my daily routine already, I’m an addict, it never gets boring, only more fun. This year is the twentieth year I’ve been making tunes, I’d say I dread to think how many weeks of life that adds up to but I don’t regret a second of it. I’m pretty confident that were I never to play another gig you’d still find me chipping away at a tune another twenty years from now. Having said all that, you can’t beat a good old fashioned rewind every now and again!
Harry Wills: A treat outside of music – every now and again I lose a couple of weeks of my life playing Football Manager and then I snap out of it and get clean and back on the tunes.
Torture the Artist: Lastly, as initially mentioned you are responsible for the latest art:cast, where and how should people listen to the mix?
Harry Wills: In near earth orbit with people you love.
Words by Holger Breuer
Torture the Artist 