“We are all 60something – but if we have the energy to do things, let’s go. To keep this motivation after 40 years, it’s like, ‘Envoyé, go for it and fuck off!”

Four decades ago, The Young Gods reconfigured rock music using the new technology of sampling in a manner no one else had thought to. In a rock and pop world dominated by Anglo-American orthodoxies, they proposed something huge and avant European in origin. Whereas others lazily recycled samples of old James Brown and Led Zeppelin riffs, in a spirit of enfeebled postmodernism, as if to suggest there was nothing new under the sun, The Young Gods created a new, elemental energy using the dead matter of the rock and classical music they sampled as fossil fuels – they rediscovered fire, a fire that raged through their first two albums – The Young Gods and L’Eau rouge / Red Water. The formula was simple – drums, voice, samples – but what they wrought was revolutionary, post-postmodern.

“The technological restrictions of the time – we were born because of those restrictions, the excitement of the new sampling technology,” says Franz Treichler. “We had those pedals which were not designed to do what we did with them – the first electric guitar loopers. I’m amazed that we could make songs with them, sometimes only with one or two sounds – now it’s totally the opposite. The technology today is incredible but you can get lost in so many new programs and plugins.”

Although they enjoyed massive critical acclaim it was with 1992’s TV Sky that they enjoyed the global recognition they deserved – heavy MTV rotation, a hit with “Skinflowers” and the likes of U2, Bowie and Nine Inch Nails singing their praises in interviews.

This success, however, represented a test of the group’s artistic integrity. They could easily have ploughed on through the Nineties in a formulaic, industrial vein but, as Treichler explains, “It’s always about breaking the formula. When you have a formula, it’s good to challenge yourself and write something else. The first three Young Gods records were based on sampling and the surprise element it can bring to the sound, these sharp changes within a millisecond jumping from classical to cabaret, heavy metal. That was our trademark, maybe a cliche. So for TV Sky, the fourth album, we decided to restrict the palette – no more violins, just guitars – then later we were influenced by the electronic, ambient scene – and then later playing the guitar live. Challenge brings forward so many new ideas.”

Such has been the true success of The Young Gods – recording and exploring on their own terms, be it covering the songs of Kurt Weill, exploring fresh ambiences on Music For Artificial Clouds, the subtly inflected blues jazz tendencies of Data Mirage Tangram or most recently, their extraordinary take on Terry Riley’s In C, which they used as a launchpad into new musical ideas of their own birthing, touring to rapt audiences across Europe.

“We’ve not been so fast putting out albums but that’s why we’re still excited about doing all this,” says Treichler. “There are moments in the industry when you are pressurised into being productive you don’t enjoy it anymore, it’s too stressful. So it’s great to jump to another project . . . In C. Some people at the label thought it was too niche – but I said, come on, this is the most played contemporary classical piece in the world, look at all the versions on the net. We did it, it worked and the label loved it.”

In rock terms, The Young Gods are anything but ephemeral – their curiosity, their energy remains undimmed since they first emerged from Fribourg in a shock attack on dull norms in 1985. As Treichler says, with a twinkle in his eye. “God’s not dead!”

David Stubbs

Sam SnitchyBern | Voodoo Rhythm

PENKOWSKIBiel

Hallelujah Mother Helpers

Loretta

Budget BoozersBern

The MonofonesBern

Failed TeachersLuzern

Xolo Bern

Marlo GrosshardtHamburg

Icon Tantine Matyouz RoyaltyParis

Legendary Prisca TelfarParis

Godmother Hausvrau LaveauxBern

Darkskin BodegaLisboa

Tokyo SavageLausanne

Zion MermaidsLausanne

Patrão 007Geneva

Rosa PistolaCiudad de México

House Of PerreoLausanne

DJ SueñoMexico City

Von BikrävParis

KimberlaIDParis

Claude MurderParis

1luuBern

WinterBoston

MamalarkyAustin

golfjugoBern

CoilgunsNeuchâtel

PlessBern

Ele ATessin

PROLIXUK

STAMINA MCUK

Deejay MFBern

Toni BBern

MC RescFreiburg

Badboy MCBern

Joey Sassa

THE YOUNG GODSGeneva / Fribourg

Blanche BiauZürich

MS NinaMadrid

TendinitesLausanne

NEGRACONDA

Spice_babesBern

The James Brown Tribute Show by SoulVision AllstarsBern

Stephan Eicher & OsomoBern

Fischermätteli Hood GängBern

Olekanone & NOVAZürich

zor-litZürich

EarthSeattle

Nataša Grujović & Steve MooreSeattle/Grujović

Sam Snitchy
Bern | Voodoo Rhythm

PENKOWSKI
Biel

Budget Boozers
Bern

The Monofones
Bern

Failed Teachers
Luzern

Xolo
Bern

Marlo Grosshardt
Hamburg

Icon Tantine Matyouz Royalty
Paris

Legendary Prisca Telfar
Paris

Godmother Hausvrau Laveaux
Bern

Darkskin Bodega
Lisboa

Tokyo Savage
Lausanne

Zion Mermaids
Lausanne

Patrão 007
Geneva

Rosa Pistola
Ciudad de México

House Of Perreo
Lausanne

DJ Sueño
Mexico City

Von Bikräv
Paris

KimberlaID
Paris

Claude Murder
Paris

1luu
Bern

Winter
Boston

Mamalarky
Austin

golfjugo
Bern

Coilguns
Neuchâtel

Pless
Bern

Ele A
Tessin

PROLIX
UK

STAMINA MC
UK

Deejay MF
Bern

Toni B
Bern

MC Resc
Freiburg

Badboy MC
Bern

THE YOUNG GODS
Geneva / Fribourg

Blanche Biau
Zürich

MS Nina
Madrid

Tendinites
Lausanne

Spice_babes
Bern

The James Brown Tribute Show by SoulVision Allstars
Bern

Stephan Eicher & Osomo
Bern

Fischermätteli Hood Gäng
Bern

Olekanone & NOVA
Zürich

zor-lit
Zürich

Earth
Seattle

Nataša Grujović & Steve Moore
Seattle/Grujović