Junkie XL: Video Killed The Radio Star

Junkie XL: Video Killed The Radio Star

Tom Holkenborg’s musical career has been as varied, as it has been illustrious. Better known as Junkie XL, the Dutchman’s catalogue ranges from production credits with 90s metal bands such as Sepultura and Fear Factory through to composing scores for box-office smash films. Not forgetting he also had a number one record, ‘A Little Less Conversation’ – a remix of the 1968 Elvis Presley single- that topped the charts in 24 countries. Today, Junkie XL is relishing his work as an in-demand soundtrack producer. DJBroadcast tracked down Holkenborg while adding the finishing touches to the soundtrack for Mad Max: Fury Road, the new blockbuster remake to be released in 2015.

Dealing with The Roster
Many in the electronic music scene will be familiar with Holkenborg’s output; from his early days experimenting with breakbeats on Roadrunner, through to the contemporary club focussed 2012 Synthesized, which spawned the single ‘Take Off On Molly's E.’ Some however, may not be as familiar with his film work.  Holkenborg’s foray into the big screen kicked off towards the end of the 90s. “The first one I remember clearly that made a difference was the first Blade movie,” he says, regarding the use of Junkie XL’s ‘Dealing with the Roster’ in the movie. “I saw how it worked in the picture and it really baffled me. It sparked an interest that was sparked further when I got involved in the first Resident Evil and a bunch of movies in Europe in 97 and 98.”

Holkenborg decided to delve further into the film world by moving to the states in 2003. “I took a back seat by assisting composers in LA by doing some programming and sample shopping and being part of the process and seeing how it’s done.”

It wasn’t soon after, that Holkenborg became part of Hans Zimmer’s production outfit. “He heard about me through the electronic music I had been making,” says Junkie XL.  “He’d offered me to join his company. I refused the first three times, because I wasn’t ready for it and wanted to work on some stuff on my own. And then eventually he asked me to work on Madagascar 3, The Dark Knight Rises and Man of Steel – and that’s when I was like, OK.”

In addition to working with Zimmer, Holkenborg has also composed the scores for Paranoia, Divergent and 300: Rise of an Empire. He also provided music for Kingdom of Heaven, The Chronicles of Riddick: Dark Fury and DOA: Dead or Alive. But for the past 12 months, Holkenborg has been based in Sydney, working towards the completion of the forthcoming Max Max movie.

“It’s a very intense process with the director,” details Holkenborg. “He always wants to see different notes and ideas. It demands a lot of time and a lot of flexibility.” Holkenborg’s admiration for his work, beams through his words. He has arrived. “It really triggers a part of my creativity that I took for granted when I did all the other things.”

"...You cannot do a movie like Mad Max
and be on the road and go on tour;
it’s impossible...."

Leave Behind Your Ego
Many artists nowadays see the move into film and gaming as one that can help counteract the declining revenues in music sales. Many at Amsterdam Dance Event will be curious as to how they can follow Holkenborg’s footsteps into the new line of work.

“The most important thing is you need to stay who you are and don’t try to be anyone else,” Holkenborg advises any potential newcomers.  “When something becomes hip, people try to be somebody else. It might be a commercial success for the short term, but the directors who you work with will go right through who you are as a person. For film composing, you need a sense of what needs to happen at a certain point in the picture. Your knowledge needs to be so extensive. You need to handle stress; you need to be a good manager of the project. It’s not for everybody.”

Radio JXL
With his schedule tied up, and his professional career tied to film, it looks like it could be the end for Junkie XL, the electronic musician. At least, for now.

“The thing is, once you engage into film scoring, it takes over everything,” says Holkenborg. “You cannot do a movie like Mad Max and be on the road and go on tour; it’s impossible. The days are really long and very exhausting. We start at 7am in the morning and work between midnight and 4am. I couldn’t even know if I could scoot off and do a couple of gigs. It’s just impossible.”