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/////////////////////////////////////////////// DID YOU EVER HAD THIS FEELING WHEN YOU WAKE UP IN THE MORNING? TODAY I WILL DO ALL THE THINGS I LAID ASIDE FOR MONTHS, THE DESK IS FULL WITH PILED UP PAPERS! SO YOU TAKE A BALLPOINT PEN AND WRITE DOWN ALL THESE FORGOTTEN WORDS IN ONE LINE. NOWADAYS ITS DIFFICULT TO BE CREATIVE OR WORK IN ONE LINE, WHILST YOU WRITE A FEW WORDS THE CELL PHONE RINGS, AFTER THAT YOU CHECK YOUR EMAILS, AFTER THAT YOU HAVE TO CHECK THE WEB FOR SOME NEWS, A MODERN ONLINE LIFE! BUT WASNT THERE SOMETHING I HAD TO DO? AH YES I WANTED TO WRITE THESE WORDS ABOUT THE NEW CUEMIX! IT MAY SOUNDS LIKE SUICIDAL FOR A ONLINE MAGAZINE, BUT MAYBE YOU LIKE TO TRY SOMETHING OUT. SWITCH OFF ALL YOUR MODERN COMMUNICATION TOOLS FOR ONE DAY. RIGHT NOW! STOP BEING ONLINE! BE ONE DAY IN YOUR LIFE IN ONE LINE. MICHAEL /////////////////////////////////////////////// CUEMIX MAGAZINE | NR. 6

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CUEMIX MAGAZINE | NR. 6

Telefon Tel Aviv

Backgroundillustration: Irene Themann

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Telefon Tel Aviv

our new album is a compilation of remixes youve done in the last seven years. I always get frighten when artists release compilations because it always feels like a Good bye. But I think in this case things are different, Ive heard that one of the impulsions to do this Remix compilation was the Hurricane Katrina. So can you tell me something about the background of this album? Well, honestly, the whole idea of the compilation came from John Hughes, the head of Hefty. It wasnt so much about Katrina (more of that will be on what were working on now in side projects and such, maybe a little on our own record but definitely not so noticeable) but more about just giving people a cross-section of another side of our work. I think that a listener can hear how we grew up and evolved over the years. Can you remember your feelings when Katrina hit New Orleans? Do you have friends there, which were affected by this terrible catastrophe? Well, I was living there at the time. I remember it perfectly. All of my family still lives there, or was living there. Charlies family was still there, of course. They have pretty much relocated by now. I remember that I had gone away the weekend before for work, and I checked the weather while in the airport in Los Angeles the Saturday before. I saw a category 5 headed right for the Mississippi Delta. My heart sank. I immediately called my parents and they assured me that they had boarded up our house and were leaving. Its the first time in 62 years that my father had ever left for a hurricane. It was dead serious! My sister and her husband lost everything. My parents home was banged up pretty badly but after 3 or 4 months they were able to move back in. My studio room had quite a bit of water damage but the gear was ok! It still has mold on the walls. I remember a discussion during a telephone interview I had with DJ Bone a few days after Katrina, we spoke about the fact that the US government failed to manage this crisis. What do you think about these failures? And by the way isnt it strange that states like Afghanistan offered their help right after the catastrophe? I think its typical. 600 billion in Iraq, and where the fuck is the help on our own soil? Do you know that we could have built any kind of levee for this season, any kind in the world, with maybe, 20 billion? But the President vetoed the new Iraq bill, which also included more money for New Orleans. I am completely disgusted by the United States, the government, its abysmal failure, its meddlesome and bellicose attitude, and for the first time in my life, Im being vocal about it. I dont imagine staying in the U.S. forever. Sorry that I asked you so much about Katrina, lets talk about the album. There is a special story behind the first remix on this album youve done for Nine Inch Nails. It was the first song you did under the name Telefon Tel Aviv and youve done this Remix at Reznors Nothing Studio. How does it come to this? I am also curious because at these days I guess you werent so famous as you are today. Well, I feel like I should clarify something: we definitely arent famous! We just have many friends that make up a fantastic support network, and we are the constant recipients of nepotism and favors. But back then; we were literally two kids making beats in my bedroom at my parents house. Through our friend Allen Jaeger, who is an artist for bands like Skinny Puppy and The Misfits, we met Danny Lohner from Nine Inch Nails. He liked our little CD a lot, and gave it to Trent, whom I suppose didnt hate it either. Then we were in Nothing Studios working on some songs. We signed to Hefty in the same week. It was a whirlwind for two 22-year-old idiots. I think it will go too far to talk about all twelve remixes, even if I would like to. But one of my favorite ones is the one ytou did for Bebel Giberto. Can you tell me something about it came to this remix? We did this after we finished the first major tour of Europe in 2004. I had been listening to Blonde Redhead a lot. I was in a melancholy mood. Bebel had sent us this beautiful song, very bright, very sunny, but with lyrics that were a bit sad, the way I heard them. I guess we just kind of switched things around in the melodies and wrote some new guitar parts and stuff around it to make it a bit more weepy, something to fit our mood at the time. Remixes Compiled is chronological, from the beginning until today. How much times have you invested to choose the tracks for this album? Well, actually, its not in chronological order exactly. And there are some things on there that are missing that I wish were on there, one of which is Charlies remix of Carmen Rizzos Too Rude which has Esthero singing. Its a winner and I wish it were on there! But so things go. I mean, Bebel is right in the beginning of the CD, and we didnt do that one until much later. I think John Hughes and Jon Schultz picked the songs. Charlie and I would never have been able to choose an order, so it was better to let those guys do it! /////////////////////////////////////////////////////////////////////////////////////////////////////// Do you had discussions about choosing the tracks? Or wasnt there any question... Well, I guess, as applies to your question before, I would have put one more song on there but in the end we are quite happy with the order and the way John put it together. I think he has a better insight into our music than just about anyone, so it makes sense to me. I guess that youve been asked this ten million times before, but I would like to know from where do you knew each other and how it came to do music together? Charlie and I met through a good buddy of mine, Anton Falcone, at school. Charlie went to Shaw High, I went to Jesuit High (and so did Anton) but Anton lived near Charlie. We talked for a while and became friends. However, we didnt start working

on music together until I had finished college. We were just pals. Do you think that it needs a special kind of friendship or kind of connected feeling to produce music with two persons? I mean for example when you have a band with four people you have a kind of grouping... and discussions have more a political attitude. Absolutely. If you arent friends, and you dont have at least some common interests and common Of course I do. Its a huge vote of confidence, especially coming from someone like tastes, youll never get anything done! Sascha, who I think is one of the best electronic music producers in the world, ever. I was very excited to do that. I love his music and I love working with him and getting In your opinion whats the biggest difference for you wasted with him. between doing own tracks and doing a remix? Is it different in the technical aspect compared to the pro- Youve also done a remix for Sascha. I draw the conclusion that you knew each other since cess when you create your own tracks? nearly 5 or 6 years because the remix is track number four on the disc. Am I right? And Very little, actually. A remix is like a new song where did you met first? for us. It requires the same amount of work.The We first met in 2004 when we were on tour in Europe. We played some shows togeonly real difference is that someone else is writing ther and got along really well. Wow, we were super fucked up on that tour! It was a the melodies, so sometimes we fiddle with that to lot of fun. That remix was done in 2004, September. make it fit our style of harmony a little better. As I said in the beginning the reason for doing a musical retrospect is different to others. But Ever felt discontent, without telling names, after youve am I allowed to ask what we can expect next from Telefon Tel Aviv? done a remix? Beats and synths. Again, long songs, but well be doing the singing this time I think. Of course. After every single one of them. Who cares? Are there still artists you dream of to do a remix for Nearly the last question, why do you use the German word Telefon in your bands name? them? It looks cooler! Bjrk, of course. Junior Boys. Depeche Mode. Lightning Bolt. Tool. Are you guys reading this?!?!?! What do you need for a perfect day? Sunshine, a bit of a breeze, some sand, saltwater, a barbecue pit, a large sound I hope so... You received so many positive press reviews system, a Rotary Connection record, all of our friends, and some hydropontic weed. and the name Telefon Tel Aviv became very famous right Well, maybe not the weed, but maybe some fancy wine that Charlie would know from the start. Do you still feel sometimes overwhelmed about... I dunno. Cocaine? Hookers? A suitecase full of 500 Euro bills??? by all these positive feedbacks you receive? Not really. My whole thing is to not believe any press. You dont have to dig far to find lots of people who really hate what we do, who think its over- CURRENT ALBUM: produced crap, sellout, cheesy, whatever. Maybe it is, I dont know, or care. Im not rich. I have to hustle to make rent every month. All I know is that Interview Michael Mck for every good review, we got a bad one. There are Rights reserved Cuemix-Magazine tons of them. Pitchfork media, the biggest online music site in the U.S., categorically hates what we ///////////////////////////////////////////////////////////////////// do. I dont really believe any of it, or really put a http://www.telefontelaviv.com lot of weight into things like that. I only know how ///////////////////////////////////////////////////////////////////// to make the kind of music that I make, same for Charlie. We can only do what we know. It changes, based on our mood - we are musical polygamists, if you like - but I havent ever read something good about us and said to myself or Charlie oh man, we have to that again, people liked it.

Remixes compiled

Joshua, you also done the final mixdown for Sascha Rings aka Apparat new album called Walls. I asked Sascha a few days ago if it is a matter of trust when an artist gives his music away to let someone to polish something. At reverse do you feel kind of honor when some have confidence in your work or is it just a job like others?

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CUEMIX MAGAZINE | NR. 6

Someone Else/Sean ONeal

Backgroundillustration: Irene Themann

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Someone Else/Sean ONeal

ello Sean, in the moment right before the release of pen caps and colored pencils you are touring massive through several continents and countries and it seems that your tour will continuously go on until October. So it seems to me that being on tour and performing your music live is very important for you! A result of your biography, I mean the fact that your grandfather and your dad also were famous musicians? Well, I dont think the touring will end in October. I think the touring might not end for quite a long time. And of course its important to me. Spread the love!

with releasing full-length albums on Foundsound. The result of this is yet to be determined. Before talking about the music of pen caps and colored pencils I would like to know something about the albums name and the artwork. What was the idea behind the albums title? Often when I create music, I sample random things using a microphone, such as dropping pencils or pen caps onto a hardwood floor, and transforming them into some kind of percussion or music within the tracks. So the idea behind the title is quite simple. Pencils and pen caps are just two examples of the kinds of found sounds that I like to use in my music. But it can be anything like slamming a door, a squeaky chair, my own silly voice, the radio, or whatever. I guess when the photoshot for the artwork took place no one was allowed to breathe or to sneeze No without joking who does it came to the photo, have you fixed the pencils with some glue or was it a spontaneous idea? I did not make the artwork. The artists name is Ray Mendoza from El Paso, Texas. The appearance and layout of the pencils and pen caps are supposed to appear like they are creating some kind of musical grid -- something like sheet music. The way they float was also Rays idea. You dont like capital letters? Why? ..SO WHEN SOME HITS YOU WITH A BIG A OR B YOU GET ANGRY? When people write in all caps, it seems like they are screaming at me. Who wants to be screamed at? Anyway, lowercase looks a bit classy and linear, and its also easier to type faster when bypassing the shift key. What I really love about the album pen caps and colored pencils is the fact that experimental music, field recordings and minimal dance music are mashed up to an absolute fascinating home listening album. And you can also play the tracks separately in a DJ set. Is this your definition of what you call organic techno? Yes, that is what I was going for. But thats not what is meant behind calling it organic techno. Organic techno, in my case, is making techno from

scratch without factory sounds and an overabundance of hardware -- and using sounds that are taken from field recordings and found sounds. So I guess organic refers to the sounds themselves -- which are indeed technically organic -- as well as the arrangements. Everything is arranged by hand/mouse from scratch. You do a lot of field recordings and use these recordings for your music. Do you always take some kind of recording gear with you or do you go on the hunt for the sounds? The sampling process for me is always spontaneous. Sure, I might go out with a recorder and sample some stuff in random places outside or wherever. But most of it simply comes from my own studio -- me sitting there with a microphone and sampling whatever is in one arms reach of where I am sitting. The glory of working with found sounds is that no matter what it is that you record, it will almost always somehow fit into whatever piece of music you are working on. Its endless. On pen caps and colored pencils you can hear a lot of voice samples.. is this your own voice? Most of the time, yes. And this is also true with most of my tracks in the past. I use my own voice constantly.

delphia. I felt a bit strange listing events with my own name so often. I felt like it would appear to be some kind of shameless self-promotion. So instead of listing my real name, I would list myself as Someone Else. And thats where the name came from. ////////////////////////////////////////////////////////////////////// It seems to me that most of the names of the tracks on pen caps and colored pencils must be seen with the winking eye behind it. Can you tell me something about the title threadbare snare? Kind of critic or am I completely wrong. The meaning behind that title is not so interesting. It simply refers to the fact that the track comes off to be somewhat thin. Okidoki.. Would you describe yourself as a humorous person? Um, yeah. Everything I do with music revolves, in part, around humor. I cant help it. Im a goofball. I looked through the photos on the foundsound website and remarked that you commented a photo from Russia with some guns on it with the words grrrrr. So am I right when I say that when you switch on the telly you have to say grrrrr 60 times a minute? Especially when you see all these conflicts and wars. Of course I am 100% against wars and Bush and all that crap. In fact, at this point, being American has become quite embarrassing..

I know that it sounds like a typical journalists question, but I am addicted to travelling. Looking back to the last few weeks which county impressed you most? Or isnt there any time for new impressions when you are on tour? I always enjoy different countries for different reasons. Naturally, Germany is the best place to perform my kind of music because this scene flourishes there more than anywhere else, so the reception and insight to my music there is overwhelmingly well-received. However, I also have amazing experiences playing in countries like Japan, Argentina, Russia, Switzerland, and England. The U.S. is getting better and better every day, but the gigs in the States still do not compare to the gigs elsewhere. But this is going to change in a matter of time because the U.S. scene is slowly improving for this kind of music. pen caps and colored pencils is your debut album after releasing a lot of countless tracks and remixes. How long have you worked on this album? Is this album a result of an idea f.e. you had last year or is it more a collection of tracks youve done in the last few years? Most of the tracks on the album were made strictly for this album. In a way, the album is just another single for me -- only with more tracks on it. For me, the album is not really meant to be special or groundbreaking. I wanted to make an album that consisted of tracks that are more dry, more simple, and more DJ-friendly. I wanted it to be extremely simple, and still somewhat timeless. I think many listeners might agree that the first listen to this album is no-so-fulfilling due to the albums dryness. But after a second or third listen, it can grow immensely on the listener. So basically, this album is like a more simplified version of what I have been doing in previous years. I would say that you arent new in the music business, anyway do you feel kind of excitement a few days before the release date? Actually, no. I have little excitement about it because I have no time to think about it since I am constantly touring and doing other things. /////////////////////////////////////////////////////////////////////////////////////////////////////////////////// The album is also the first CD/longplayer on your label foundsound, which you are running together with Kate Iwanowicz and Sylvian Takerkart. So its kind of a double debut. Do you think this makes it a little more exciting than a normal debut? Sure, its a bit more exciting. But its also a test and a risk to see if we can get away

Lets dig a little bit in your biography Your grandfather was a music teacher and also played bass with Bill Hailey and the Comets. Your dad also played with several rock bands. With such a musically family in the background did you ever felt forced to learn an instrument? Or was your interest in music the logical result of your familys background? No, I never felt forced into making music. Its something that I always wanted to do Am I allowed to ask you what kind of gear you use regardless of my family history. However, when I was a young kid, my mother sort when you are in the studio? Especially what kind of of forced me into auditioning for musical plays and choirs. So I spent a lot of my childhood singing and dancing on a stage in plays like Oliver. tools you has used to manipulate the voices? Most of it is done in my Mac. I do use a few synthesizers for basslines and melodies from time to /////////////////////////////////////////////////////////////////////////////////////////////////////////////////// time. As for manipulating the voices, its all cutand-paste action within the software -- along with When have you started to get interested in synthesizers? And when have you owned your first one? Was your interest a result of the fact that you listened to Krautrock music..? digital effects. Exactly, the inspiration to use analog synthesizers came from bands like Neu, Can, How does it came to your artists name someone else? Faust, early Kraftwerk, and Stereolab. I cogitated about it and thought that the meaning of the name comes from being someone else when you What kind of synth was it? create or perform music. The funnier solution would be: The first synths I used were a Korg Monopoly, a Korg Polysix and a Steiner Parker. Hey Sean who made this music? - It wasnt me ask Later you were a member of the band Flowchart, which were listed as one of the next someone else! For many years, I was a journalist for a Philadel- 100. But right at this time you get more interested in IDM, Techno and House music. Was phia newspaper. I would write the club listings there a special catalyst that you get interested in this music, like a record or a concert? every week. And I was also often DJing in Phila- No, it was all a very slow process for me. Flowchart started in 1994, and it was mostly

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Someone Else/Sean ONeal

rock. Throughout the 90s, Flowchart slowly evolved into electronic music. During this time, I was getting inspired by artists like Seefeel, The Orb, Plastikman, and Matthew Herbert. And since I was also working at a record store in Philly, 611 Records, I was inspired to DJ techno and house in addition to IDM. So the changeover from rock to minimal was a slow process, but quite automatic and natural. It was a logical progression. What kind of reactions do you get from your family about the music you create today? Only my dad heard my music thus far. He is not into electronic music at all. He is a Bob Dylan junkie. He loves the Rolling Stones. When I played my music for him, he said that it sounds like disco. He was impressed, but he didnt really understand it. Your tracks were played and used on many compilations done by famous artists like Richie Hawtin or Adam Beyer, do you think this is a good basement for the release of a debut or do you think you must fight for the attention of the audience again and again? Actually, I dont think much of it. Naturally, I am quite honored that legendary and respectable artists like Hawtin and Beyer appreciate and relate to my music enough to include it in their DJ sets. But I dont really feel that I need to fight in any way to gain more attention for an audience. Of course, I am hopeful to be heard by more and more people, but it doesnt feel like a battle of any kind. I just do what I do, and I hope for the best. You are also working as a journalist - what about your feelings being an interviewed journalist? Do you feel sometimes bored or do you find things sometimes interesting that people ask you? I do not do much journalism these days. I am too busy making music these days, so I have no time to write about it. But maybe I will again some day in the future. But no, I dont necessarily feel bored with interviews. And indeed, I myself have interviewed all sorts of people over the last ten years, such as Alex Paterson, Paul Van Dyk, Simon Reynolds, Sasha, Skinny Puppy, Josh Wink, and many others. So interviews can sometimes be enjoyable for me when I am on the other end. Of course, questions can sometimes become repetitive. But I can deal with that. 2007 seems to me as a hard and labor-intensive year for you What do you do to relax? Relaxing is something I seldom get a chance to do these days. I do need to do it more often. Sometimes, when I am touring in another country, I stay there for the week days and make it like a holiday. Thats relaxing. But since I am seldom home anymore, being at home is the most relaxing thing for me. What do you need for a perfect day? A back rub and a blow job.

CURRENT ALBUM:

Pen caps and colored pencils

Interview Michael Mck Rights reserved Cuemix-Magazine ///////////////////////////////////////////////////////////////////// http://www.foundsoundrecords.com http://www.myspace.com/47584071 /////////////////////////////////////////////////////////////////////

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But in my late teens and during the university time I became very interested in creating different sounds with synths, samplers and pedals. That was the time when I bought my first synth Korg N5, my first sampler EMU ESI400 and my first pc. After that, the electronic music journey for me has really begun. So you are a member of a artistic family? Did you grow up with music? There is no musician in my family. I am the rebellious, artistic personality of the family maybe we could say. But although my parents were not musicians, they have helped me a lot during my development as a musician. They bought very rare songbooks, cds and magazines that were impossible to find in Istanbul at the time. Those were the days before the Internet of course. Although I did not listen to music very much when I was a kid as far as I can remember, my life has been full of with music after my 11th birthday.

Interview Cuemix 06

Erdem Helvacioglu
cordings? I mean you kept all the different scenes in your mind or have you used a kind of storyboard or some notes? Erdem>>>I did lots of sketches, notes during the writing process. Based on these, I created a general score for myself where I could follow which effects to control and when.

Erdem after reading your biography I was really speechless. You won so many prizes and did so many concerts, exhibitions and productions for films, videos, dance... when did you sleep in the last six years? Well, I did not sleep at all for the last 6 years ( Laughing ) Yes you are right, I did lots of different projects during this period. I received prestigious electronic music prizes from competitions such as Luigi Russolo, MUSICA NOVA, Insulae. I gave concerts all around the world and my compositions have been performed at very important festivals such as Futura, Nuit Bleue, Sonorities, Visiones Sonoras, SICMF, Third Practice, Musica Viva, Acousmania, Primavera en La Habana and San Francisco Tape Music Festival. My sound installations and music have been heard at galleries, exhibitions such as Track 16 ( USA ), Soemardja ( Indonesia ), Menier Gallery ( UK ), Museum fr Angewandte ( Germany ) and Werkstatten und Kulturhaus ( Austria ). I think if you want to accomplish something original and meaningful internationally as an artist, you need to work really hard. That is what I have done during the time. I did as many different projects as possible. I produced a major rock band for SonyBMG, but at the same time I diffused my electroacoustic pieces through a 48 speaker system setup at festivals in France. I composed music for films that were shown at prestigious festivals such as Cannes Film Festival, but at the same time I played the guitar in bands supporting groups such as The Cure, Manic Street Preachers. All this work and experience has helped me to be open to anything sonically interesting and exciting. ////////////////////////////////////////////////////////////////////// Ok lets first start with your musical background. I really would like to know before we will talk about your studies and your education which instrument you learned to play first? The first instrument that I learned to play was the guitar. I started studying classical guitar when I was eleven. In a year or so, I started to play the electric guitar. I was really crazy about playing the guitar in my teens. I was practicing at least 4 hours every day and sometimes even skipping school (Laughing) I could play songs and solos of Joe Satriani, Jimi Hendrix, Eddie Van Halen, Ritchie Blackmore and other rock guitarists when I was 14 and could play like John Scofield, Joe Pass, Charlie Parker and other great cats when I was 15.

When have you decided to learn sound engineering? I started producing my electronic music works during the time at the university where I was studying industrial engineering. At that time, I realized that my pieces did not sound as professional as the artists that I have been listening to. I knew that I needed to study sound engineering to make my productions sound quality better. After graduating from the university, I enrolled in the masters program at the Istanbul Technical University Music for Advanced Studies Department. There, I studied sound engineering and electroacoustic music composition. I am about to finish my doctorate there at the same department. Must I picture myself that youve played around with several tape recorders or stuff like when you were as a child - or have you played football in the streets like any other kid? Well, although I was not very good at it, I played football in the streets as a kid. I did not know much about music until my 11th birthday. I remember very vividly that I was singing along to the number one hit song Live is Life by Opus! I think the 80s pop and hard rock raised the very first excitement in me towards music. But of course my musical style now is very different from 80s pop (Laughing) From where comes this fascination for sounds and music? Would you describe yourself as someone who can sit for hours at the beach and listen to the different sounds of waves crashing in or listen to the birds in the trees playing there melodies? Or are you more interested in technical aspects? I can say both actually. Since I do lots of field recordings and sound design for films, I can definitely sit for hours at the beach just listening. But at the same time, I can read about various musical equipment and software for hours without a break. Since I am also a producer, I need to be aware of all the technical innovations that are taking place in the music industry at the moment. Your new album is called Altered Realities, a real breathtaking journey through sounds and musical landscapes. Have you chosen the name Altered Realities because of the way you worked on the album, I mean you alter the sound of the guitar in a live situation like changing the reality? Or is the title of the album also a hint to the effect it probably has on the audience? Erdem>>> The album is about altering the sonic character of the acoustic guitar in real-

time. As listeners, we have heard the acoustic guitar at various setups. We have heard the fast single note lines from Al di Meola, the percussive 2-hand tapping from Michael Hedges, the fingerstyle playing from Adrian Legg and many more other great artists. My intention for the album was to focus on the timbre of the instrument and build pieces from scratch (from just one note even) and change the timbre of the instrument gradually over time. Since I alter the timbre (reality) of the instrument over time intentionally, I chose the title of the album to be Altered Realities. For me its really unbelievable that all these tracks where recorded in one shot in a kind of live-situation. Please tell me something about the producing process - how have you developed and written these tracks? Do you first play them clean on your guitar without effects? Or have you used the effects right from the start like an instrument? I have treated the live electronics part as another instrument. At various moments on the album, the music can even be heard as a virtual duo. The patches that I have created are not simple effect units. The live electronics part always reacts to the way I play. Like if I play a note or a chord at a certain dynamic range, the live electronics react accordingly. That way, the live electronics part is dynamic and is heard not like another identity but a very organic part of the actual guitar sound. I have started composing the guitar parts and the live electronics at the same time right from the very start. This is not a very easy process, but I think the end results sound great. And how have you worked during the recordings? After composing the acoustic guitar and live electronics parts, I just pressed record on my dat recorder. I did many takes for every piece and then chose the best ones. But remember that there is no edits on the actual final recordings. The album is about performance as well as electronics. In that sense, the album can also be regarded as a modern, futuristic jazz recording. I guess that is part of the reason why various jazz magazines also praised the album very much. But I guess using effects like a kind of instruments is really a big challenge because you havent any notation for the effects. How have you managed these different effects and sounds during the re-

Was there also space for improvisation with the guitar and the effects? The album was mostly composed, but there was an element of improvisation too. About 10% or so. I also read that youve used the program Audiomulch. Do you use it as a kind of effect rig? Audiomulch was the main processing program used on the album. I have created very complex patches that react to the way I play. Most of the processed sounds heard on the album are the results of Audiomulch. I think it is one of the most important music software developed in the last 10 years.

Another big role-plays the TC Electronic Fireworx. Which type have you used? TC Electronic Fireworx is a wonderful hardware multi-effects unit. I used a one with the latest bios. It is a unit on the album that accompanies the Audiomulch very well. Together they become a great team. I believe that for some occasions the hardware units are still better than the software versions. So it is good idea to combine both hardware and software units during a production. Do you have any plans to perform the album in a kind of live-sessions? I have already performed live at various festivals. During fall 2007, I will play at some concerts in USA and Canada. I also would like to perform with this setup on other artists albums and on soundtracks. How do you get signed on the label New Albion? From where do you know each other? I have known the wonderful clarinet player Evan Ziporyn from the famous new music ensemble Bang on a Can. He already had a solo album released on New Albion Records. He loved my album and sent it to the A&R department of the label. After a few weeks, I received an email stating that they were interested in releasing the album. I was very excited of course! Because New Albion is a label that have released albums from legendary composers like John Cage, Harold Budd, Paul Lansky, Stockhausen. It is so great and exciting to be among those legends. Unfortunately I dont know too much about your record A Walk Through The Bazaar. Have you done field recordings to capture all these sounds Ive heard on some snippets of this album? Yes I have done a very long field recording at a bazaar in Istanbul. The whole album is based on this field recording. The album includes the elements of contemporary ambient, glitch, space music and techno. It is like a dreamy sonic journey in Istanbul. The music was regarded as striking, outstanding and like the musical realization of a recovered memory by magazines such as The Wire and Pitchforkmedia.

And with which kind of tools and programs have you worked to produce A Walk Through The Bazaar. For the field recording, I used an Audiotechnica AT822 stereo microphone and Tascam DAP-1 Dat Recorder. Then I imported these recordings to my computer. For the sound design, I used programs such as Hog, Metasynth, Soundhack, Soundforge and as hardware access virus synth and lots of plugins. I edited and mixed the album at the program Sonar.

International Istanbul Biennial that will be open during September 8- November 4, 2007. I have been working on my new solo album that will be released in 2008. I am about to start composing for a new movie. I will start producing 2 different artists in the fall. Recently, I have received a new commission for a new piece >from the famous American new music ensemble Bang on a Can. The piece will be premiered in NY in February 2008. I will start working on this piece very soon.

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I remarked that you did a lot of shows in the United States and your albums have been also released by American record labels. From where does this connection to the States come? Did it result from your studies or through the music? Actually, this was not a planned thing. From the very start of my career, the labels Is this album a kind of declaration of love to your in USA have been interested in my work more than the labels in Europe. My pieces hometown? What was the impulsion to create this re- have been performed and broadcast a lot in USA. I think this has been just a natural cord with all these live sounds? flow. But lately, there are more labels from Europe who are interested in my music. This album is a part of a 6 album series released Maybe this US connection could change in a way in the near future. by Locustmusic. The idea for the series was that chosen artists would do field recordings around So you also have to travel a lot to the United States. Do you feel more observed when you the city that they live. Then they would compo- enter the States in the last years? se the whole album based on these recordings. Since I am not a US citizen and I am someone coming from a Muslim country, I have There are artists such as Matmos, Keith Fullerton more of a chance to get observed and checked at the airports. But I have travelled Whitman, Reynols on this series. Since I do lots of to USA many times in the last 5 years and I have not had any bad experiences until field recordings myself and I like the soundscape now. of Istanbul very much, this was like a dream project for me. It was a sonic declaration of respect Are you interested in working and living in other countries and towns or would you say, no to the city. Istanbul is MY city? This is the city I need... I am very interested in working in London and New York. I have already done work You can laugh at me, but when I heard your new album over there, and definitely would like to do more. Although Istanbul is a great city, I Altered Realities for the first time I really thought this think it is also very important as an artist to travel to other parts of the world to get album is influenced by the hometown of its compo- inspiration. ser... Which means not that you hear a kind of ethnic influences in sound, no I mean Istanbul stands for me We talked a lot about your wonderful music which can obviously classified more as art as a symbol for bridging it is a melting point, a place music. But do you sometimes enter the rich nightlife of Istanbul just for a party or do you where different influences, people and religions come go to some clubs? together. And here I see the connection to your album: Yes I go to clubs and parties for sure, but definitely with my earplugs on (Laughing) music played on a classic instrument and modulated Since I also play with loud rock bands, I am very comfortable at clubs playing and with modern machines.... Would you agree a little to my dancing. strange thoughts? Yes I could agree to that to a certain extent. The To which music do you listen at the moment? album is a bridge or crossover between a classic I listen to various things. A great jazz album by Susanne Abbuehl titled April, instrument and 21st century machines. I am not Tigran Mansurians String Quartets, Toru Takemitsus Film Music, David Torns very sure if I have been influenced by Istanbul or latest solo album Prezens and lots of soundscape compositions from artists such not but some reviews stated that there is an in- as Hildegard Westerkamp, Barry Truax and Thomas Gerwin. teresting Turkish music edge to the album. I think some subconscious influences of the city can be What do you need for a perfect day in your life? heard. Listening to any piece by Morton Felman is a big part of a perfect day in life. Whats the reason that you dont use an artists name? I have always been interested in artists who use their own names not any artist names. I think in a sense, using an artist name is like trying to hide behind a transparent curtain. I try to think and read a lot about identity in music. I know very well that if I have used a short English phrase as an artist name, I would have more chance to receive reviews or exposure. But your name is one of the most important parts of your identity and I do not want to change that. Although I know that my surname is hard to pronounce for many people, I guess I like the challenge (Laughing)

CURRENT ALBUM:

Altered Realities
Interview Michael Mck Rights reserved Cuemix-Magazine ///////////////////////////////////////////////////////////////////// www.erdemhelvacioglu.com/ /////////////////////////////////////////////////////////////////////

What are your next projects? Do you work on a new album or do you work for a new art or musical production? Or do you work on both (Laughing)? I have been working on lots of different projects. I am about to finish a big sound installation for the

Backgroundillustration: Irene Themann

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ABOUT
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ITS

Backgroundillustration: Irene Themann

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CUEMIX MAGAZINE | NR. 6

Lynx and Ram

Probably asked a million times, but I must ask you that again Electroniceclecticpowerpunkpop? How would you call your music? Our music is such a mashup of different sounds and genres, it becomes really hard to classify. We pretty much just try to write the most out of control music we can. When I listened the first time to your album The Systems On And Its Flashing Red it reminded my a little bit of these days when I bought my first Bad Brains, Minutemen and also a little bit of Siouxsie and the Bandshees. But all these albums were the result of a youth movement with a clenched fist in their pocket. Nowadays I cant find such a spirit anymore, at least in Germany, which can also results from the fact that I am an old man. Anyway I would say that your music is driven by a kind of rage, would you agree or am I definitely wrong with my impressions? From where do you get the power in your songs? Is it the search of a new art form or as I said before driven by emotions? We were just searching for a sound we hadnt heard before. We didnt have any alterior motive. Make it sound good, and then move on to the next track. How does it come to the bridging between punkrock and electronic music? I dont think it was conscious, we didnt really know what we wanted to make when we first started out. We just knew we wanted it to be fast and aggressive. We basically started recording our album the day after we first met, so we didnt really know each other, which is unlike most bands who get to know each other for quite awhile before they record. Julian it seems to me when I listened to your tracks you released on PlanetMu that youve also been influenced by the sound of independent and New Wave music of the Eighties? I would never have thought that personally, but infact I have been getting into that music as of late. My next record will definitely be far more electronic, mainly because I want to be able to play it properly live. Working with a more limited palate of sounds also helps one to write faster Ive found. Carli I know a little about the solo projects of Julian but I dont know anything about your musical background? I come from a very musical family so Ive been involved in music one way or another since I was a tot. I trained classically for fun and spent 3 or 4 years singing in an R&B show band. I moved to Vancouver specifically for something new and a year later formed Lynx and Ram. It was so much fun to start something as great as music with someone like Julian- Especially having no idea what the result would be. From rhythm and blues to the music of Lynx and Ram seems to me as a different pair of shoes from where comes your impulsion to work in such a different project? I was so sick of that music by the time I left, it was only natural that my next step would be involved with something energetic, rebellious and crazy. Looking back on those years is a strange feeling for me, almost like suppression in every sensecreatively and musically And where do you both met first? And when was the idea about Lynx and Ram born? Julian and I met at a time where I was anxious to get back into writing music and Julian was looking to expand beyond the solitude of writing as a solo artist. Neither of us knew what sort of sound we were going for but the first day we started writing we came up with Ghostship followed by Medschool. I suppose we formed the record based on those two styles. Was it a brainchild from you both? Completely. We were originally going to have more people in the band but whenever we brought a third person in to the studio it just slowed us down. Julian you released your debut album special forces and now New Quarters on Planet Mu. How does it come to the fact that The Systems On And Its Flashing Red came out on the fantastic Sublight Records label? I have some friends from Planet Mu who are also on Sublight, so when they heard the new stuff they told Aaron (from Sublight) about it and he emailed us wanting to know if we would be interested in putting it out with him. etc. just anything we have to do to make them sound like they are going off the rails. Actually the process of making them sound like that was so destructive that they were almost impossible to mix, we couldnt just raise the volume of the snare if we wanted to. It sounds like a typical standard journalists question, but I really asked myself how long have you worked on this fascinating album? It sounds perfect which indicated intensive studio work on the other side it sounds powerful and of a piece like a one shoot studio session From the day we first met to the day our album came out was just over a year. We made a conscious effort to write as fast as possible, if we hadnt completely finished a song in a day or two we would scrap it and move on. I find the best songs are those that come together right away. Most of the vocals were just recorded right in the control room in one take into a handheld mic, with the monitors blasting, we dont really care about bleed or making pristine recordings. Only on Fogville and Kelp Forest did we record the vocals in isolation. I think, no I guess I understood the meaning of the song titles and the meaning of the lyrics. But can you tell something about the track called Ink Drinker? Its about being crazy. Do you study or have jobs besides doing music or is music your fulltime job? Besides working on music we are both students. Im studying History and Biology at the moment, Julian is taking English and Economics at the University of British Columbia. You both are from Vancouver, can you tell me something about the musical scene and the cultural life in this area? Is there a kind of a scene, which is open for your music? We dont play live in Vancouver all that often, we dont really play shows just for the sake of it, only when it is a really cool show to be playing. The music scene in Vancouver is alright, its more indie rock than anything else, I dont know of too much electronic stuff going on. What about the reactions of the audience when you perform your music live on stage? People love it. Carli is a great front person so people always go crazy for her. I found out by accident that one of your friends is Joseph Fraioli known as DatachI. (see Cuemix Interview) From where do you him? I am good friends with Joseph, we toured together a couple of years ago and I hang out with him whenever I am in New York. I am trying to drag him out to Vancouver to go snowboarding. What are the next plans for Lynx and Ram. I know that youve played several gigs.. Any plans for a tour abroad? And what about a second album? We have played in Europe and we would love to go back for another tour. We just finished opening for Interpol on their Canadian tour and are currently writing our next album. The new stuff we are writing is quite different from our first record. More in the direction of Ghost Ship What do you need for a perfect day in your life? Each other of course!

CURRENT ALBUM:

The systems on and its flashing red

Webpage http://www.myspace.com/lynxandram Interview Michael Mck Rights reserved Cuemix-Magazine ///////////////////////////////////////////////////////////////////// http://www.myspace.com/lynxandram /////////////////////////////////////////////////////////////////////

Whats behind the bands name Lynx and Ram? I just know the word Lynx from old Atari handheld consoles and from a webrowser. We were nameless for two months after we formed and eventually just picked it because it sounded different. For the record it doesnt have any connection to computers, just a couple of animals. When you play live on stage what kind of setup do you use? Whos doing what? We have a guitar, a bass, and a synth. We also have a guitar pedal that w can load our drums into. We change up the instruments we play on pretty much very song. Sometimes Carli plays the synth and sings while I play bass, or guitar, sometimes Carli just sings and I play the synth. But whats the secret behind your drum sounds I mean they sound so real and so dirty? We record a bunch of live drum takes, layer them all, play them back at the same timeand then chop out the good bits and sequence them in the computer, so often its really like three drummers playing at once and then sped up, messed with

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Apparat

SASCHA
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Apparat

dich immer an die wichtigen Dinge. Das macht man 2 Jahre und man, oder vielleicht auch nur ich, wird faul.

Ist das Album auch in einem gewissen Sinne durch deine Zusammenarbeit mit Ellen Allien fr Orchestra of Bubbles beeinflusst? Oder muss man das voneinander trennen? Ich wrde mal generell behaupten das es schwierig ist berhaupt von irgendwas nicht beeinflusst zu sein das man mal gemacht hat. Ellen hat mich sozusagen gezwungen 3 Monate am Stck mit ihr im Studio zu sitzen und ich habe einen GrossDein neues Album trgt den Titel Walls. Wieso hast teil meiner leicht autistisch angehauchten nerdieness verloren. Ich kann jetzt viel du diesen Titel gewhlt? Mauern erzeugen doch im besser mit Leuten zusammen Musik machen und ich mache regen Gebrauch von ersten Moment eher ein beengendes oder klaustro- meiner neu entdeckten Fhigkeit! phobisches Gefhl im Gegensatz zur sprichwrtlichen Freiheit der Musik. Ich habe vorhin Walls als Bandalbum bezeichnet. Wie werden die Stcke von Walls den Bei Walls geht es weniger um darum Areale vonei- Live prsentiert? nander abzugrenzen. Eher um die wnde die uns Es gibt eine Bandvariante mit Drummer und Raz Ohara. Wir spielen dann schon davon abhalten neues oder verbotenes auszu- Stcke die nahe am Album sind. Das hab ich bisher ja nie gemacht weil ich immer probieren. Es gibt eine menge Regeln und Zwnge irgendwie meine listening Alben in den Club-context bekommen musste. Ich spiele in unserer Gesellschaft. Viele davon halten uns halt ungern ruhige Songs mit dem Laptop - man hat kaum Raum zu improvisieren. davon ab manchmal ber unseren Schatten zu springen und einfach zu machen. Eigentlich soll Walls eine Anregung zum machen sein. Weil sein lassen ist der einfache und auf Dauer unbe- Neben den wirklich tollen Tracks mit Raz Ohara gibst du auf Walls dein Debt als Snger. friedigende Weg. Ich habe mit dieser Platte ver- Ein lang gehegter Traum selber zu singen? Hast du schon einmal als Snger gearbeitet zum sucht alle meine Zweifel ob irgendwas zu poppig Beispiel in einer Band oder zumindest im Schul- oder Kirchenchor? Oder hat irgend jemand oder vielleicht zu uncool fr den undergorund mal zu dir gesagt Hey warum singst du eigentlich nicht mal? ist zu verdrngen und mich einfach locker zu ma- Ich habe jahrelang nach dem richtigen Snger gesucht. Ich hatte die ganz spechen. Das Ergebnis knnte natrlich manche Leute zielle Vorstellung... dann hab ich Raz getroffen der irgendwie ganz anders aber verschrecken, die einen sehr elektronischen oder total geil ist. Ich hab rausgefunden das es deine Musik bereichert wenn jemand dancy Apparat erwartet haben, aber ohne solche einen eigenen Stil mit einbringt. Ich wollte eigentlich auf dieser Platte gar nicht Manamen entwickelt man sich nicht weiter und selbst singen. Ich arbeite seit einer Weile an so einer reinen Vocalplatte und wollte ich langweile mich, wenn ich auf der Stelle stehen diese Platten trennen. Aber irgendwie haben die 2 Songs so gut darauf funktioniert bleibe. das ich nicht nein sagen konnte. Anyway - angefangen zu singen hab ich als ich irgendwie verzweifelt war und zudem noch Ellen meinte ich soll doch nicht immer Walls ist ein sehr organisches Album das so gar nicht rumjammern das ich keinen Snger finde sondern selber singen. Und das war dann mehr wie ein rein elektronisches Album klingt, es klingt echt nicht so schwierig, weil zu mindest wusste ich ja genau was ich wollte und das eher nach einem Bandalbum. Hast du deine Arbeits- ist schon mal viel wert... weise bewusst gendert oder ist das Album eher Ergebnis von Songs die genau diesen Sound haben und sich ber die Zeit angesammelt haben? Oder weniger kompliziert gefragt du hast zwei, drei Jahre lang an Songs, finde ich besser als Tracks zu sagen, gesammelt die ein Popalbum Anspruch haben? Ich habe tatschlich meine Arbeitsweise gendert. Ich bin mittlerweile viel zu faul fr krasse Effekte und Edits. Ich will einfach Musik machen und springe wild im Studio rum und nehme Keyboards, Gitarren und anderes Zeug auf bis ich viel zu viel auf der Festplatte habe. Dann bin ich normalerweise zu faul den Song aufzurumen und zu arrangieren und er bleibt so ein bis zwei Jahre liegen. Ich hab mich diesmal einfach mal fr nen paar Monate zusammengerissen und hab ein paar Lieder fertig gemacht. Das hat Disziplin gekostet. Aber gut das ich das gemacht habe, ich hab mir damit bewiesen das ich mich noch zusammenreien kann. Wenn dein Leben zu einfach wird dann drehst du nen bissl durch. Du musst halt viele Sachen nicht mehr machen. Hast nen Anwalt und nen Steuerberater, nen Booker und ne Pressedame und alle erinnern

Ja natrlich habe ich Philip Sherburnes groartigen Text zu deinem Album gelesen, aber ungelogen, im erstem Moment als ich deinen Gesang gehrt habe musste ich auch an Thom Yorke denken. Was denkst du Zufall oder bist du vielleicht von Thoms Art zu singen beeinflusst worden? Thom Yorke ist toll. Aber auch er wurde am Anfang wahrscheinlich immer gefragt ob er Jeff Buckley mag. Er war halt stilbildend fr eine Art emotionalen Mnnergesang. So wie Autechre stilbildend fr IDM waren. Deshalb werden dann halt immer so Schubladen aufgemacht. und Bands wie Muse und Coldplay mit Radiohead verglichen. Da sind natrlich Welten dazwischen und ich find es manchmal zu einfach so zu kategorisieren. Ich habe den Eindruck zur Zeit in der elektronischen Musik eine kleine Wende stattfindet, weg von ausschlielich minimaler und futuristischer Musik, wieder hin zu wrmeren poppigeren Sounds mit mehr Songstrukturen. (Wenn du das berhaupt hnlich siehst)Woran meinst du liegt das? An den Zeiten in denen wir leben? Sprich das in einer vielleicht etwas unsichereren Welt in der sehr oft auf dicke Hose gemacht wird man sich nach wrmerer Musik sehnt? Oder ist es einfach nur der Lauf der Musikstrmungen? Da kann ich nur meine Standardantwort bringen - das ist sicher EIN Trend, aber kein genereller denke ich. Das hat immer viel mit eigener Wahrnehmung zu tun. Ich nehme das z.B. nicht so wahr. Ich bin jedes Wochenende in Clubs unterwegs und da hr ich seit einer ganzen weile immer die selbe Musik...

Ende zu bringen wenn man 1000 Dinge zur gleichen Zeit macht. Das ist sozusagen die Story meines Lebens, weil ich ja schon musikalisch immer so viel verschiedenen Kram mache. Ich denke man muss sich halt einfach zusammenreien und sich 3 Monate auf ein Projekt konzentrieren. So wie ich es fr Walls gemacht habe. Ich hatte ziemlich viele Skizzen auf der Festplatte und irgendwann musste ich sagen, OK wenn ich die jetzt nicht fertig mache werde ich es nie tun... Wie muss ich mir deine Arbeit im Studio denn vorstellen, als Befreiung vom Stress? Wenn alle Gerte laufen und du von einer Ecke in die andere springst um noch etwas zu verndern stellt sich dann so was wie, na ja du wirst jetzt lachen, so etwas wie eine Euphorie ein? Na klar. das sind die wichtigen Momente im Studio. Wenn du im flow bist. dann spring ich im Studio rum und mach einfach Musik. Dafr mach ich ja die Musik, fr diese Momente. Leider sind die eher selten. Noch einmal zurck zu den zahlreichen Baustellen die ich vorhin genannt habe, und es wird ja anscheinend auch nicht weniger wenn ich deinen Tourplan ansehe. Wie machst du dass alles? Bist du nicht manchmal unheimlich mde und ausgelaugt? Oder brauchst du diese Dauerbelastung wie andere die Luft zum Leben? Doch, ich bin gerade erkltet, mde und ausgelaugt und ich frage mich wie ich das noch 15 Jahre machen soll. Aber hey - es kommt immer auf die Abwechslung an. Nach 8 Monaten touren muss man halt mal 3 Monate Pause machen. Im Studio sein oder gar im Urlaub. Ich denke das alles langweilig und anstrengend wird wenn man sich keinen Ausgleich schafft. Aber es ist wichtig das man Sachen, wenn man sich denn dazu entschlossen hat, konsequent durchzieht.

Wahrscheinlich wirst du stndig danach gefragt, aber was macht eigentlich das Projekt mit Gianna Nannini? Wie kam es berhaupt dazu? Ja, ich werd sehr oft danach gefragt deshalb hier die Kurzform: mal bei ner Modenschau in Mailand getroffen, sie fand meine Musik toll, ich hab erst nicht geglaubt das sie tatschlich anruft, dann angefangen ne Oper zusammen zu machen, an ihrem Album ein wenig mitgearbeitet und irgendwie Freunde geworden... tolle Frau. Josh Eustis hat den Mixdown fr dein Album gemacht, wiederum erscheint gerade jetzt das neue Telefon Tel Aviv Remixes Compiled Album mit einem Apparat Remix. Woher kennt Ihr euch? Kann man sagen ihr seid befreundet? Wir hatten mal ne echt heftige Tour zusammen. Wie man sich halt so kennen gelernt als Musiker - im Delirium... dann haben wir uns in Mexiko beim Mutek Festival wiedergetroffen. Da waren wir auf so ne echt weirden Afterparty in den Bergen. Irgendwie hatten da Eltern von irgendwem so nen krasses Anwesen wo alles aussah wie Mittelerde im Hobbitland. Alle warn total druff und da Josh und ich keine Drogen nehmen wollten hat er ne Flasche Rum und ich ne Flasche Whiskey getrunken. Dann hab ich ihm von dieser platte erzhlt, die ich gerade mache und das ich mich gern etwas mehr aus der Produktion zurckziehen wrde und gern etwas mehr Knstler als Producer wre. Und er sagte: Super, ist bei mir genau andersrum. Also bin ich 8 Monate spter nach Chicago geflogen und hab das Ding dort mit ihm fertig gemacht...

Du hast in den letzten Jahren ja nicht nur an diesem Album gearbeitet sonder zusammen mit Ellen Allien gearbeitet und getourt, hast mit Knstlern wie Damero etc. gearbeitet und warst auch alleine stndig unterwegs und die Arbeit bei Shitkatapult muss ja wahrscheinlich auch noch gemacht werden. Ist es da nicht unheimlich schwierig immer wieder den Faden aufzunehmen und das Album weiter zu stricken? Mich persnlich zermrbt es zumindest manchmal wenn ich etwas nicht an einem Stck bearbeiten kann. Na zu aller erst bin ich ja nicht mehr bei Shitkatapult. Also der Laden gehrt mir nicht mehr. Ich konnte tatschlich diese Office Arbeit nicht mehr bewltigen weil ich halt lieber im Studio war. Es stimmt natrlich das es schwierig ist etwas zu

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Apparat

Ist so ein Mixdown, wie soll ich sagen, auch eine Art Vertrauenssache? Schlielich gibt man doch in diesem Moment SEIN Album in andere Hnde? Wenn man soo tief in den Songs drinsteckt und sie soo oft gehrt hat kann man soundmssig nicht mehr objektiv sein. Da ist es eigentlich super wenn sich das wer mit frischen Ohren anhrt und sofort hrt das die Hihat zu laut ist oder so was... das ist ja bei jeder anderen Musik vllig normal. Da gibt es Knstler, Producer, und Mixing-Eengineers. Nur in der low-budget Elektronik macht das alles jeder selbst. Das ist natrlich ziemlich schwierig da dann immer die gewnschte Qualitt zu erreichen... In wenigen Tagen erscheint das Album, bist du eher der Typ der manchmal denkt Dies oder jenes htte man anders machen knnen oder ist das Kapitel dann mit dem finalen Mix bzw. beim Mastern abgeschlossen? Ja - irgendwie ist das befreiend wenn eine Platte dann endlich gemastert wurde. Dann hrt man auch auf andauernd zu Denken das man dies oder jenes htte verndern knnen. Ich habe frher Design gemacht und Printdesign war so viel einfacher als Webdesign, weil es einfach irgendwann fertig war. Wenn man ne Webpage gebaut hatte kam der Kunde immer noch 10000 mal an und wollte nderungen haben, einfach nur weil es ja mglich ist... Auch wenn es ein wenig nach BRAVO klingt, interessiert mich ganz ehrlich welcher Song auf Walls dein Liebling ist? Meine Lieblingssongs ndern sich immer. Erst mal kann ich ne Platte berhaupt nicht mehr hren und dann mag man so langsam einzelne Songs wieder und am Ende, so 3 Jahre spter mag man alles und denkt, wow - wie hab ich das nur gemacht... Jetzt mag ich gerade Headup. Der war einer der ersten Songs der Platte. Es gibt ihn in 4 verschiedenen Versionen mit unterschiedlichen Vocals und Lyrics... Du hast schon viel mit Carsten Aermes aka Phon.O gearbeitet. Woher kennt ihr euch, schon aus deiner Zeit im Harz bevor du nach Berlin gezogen bist? Ich kenne Carsten schon 15 Jahre. Wir sind zusammen nach Berlin gekommen und wohnen zusammen... er ist mein bester Freund. Wie geht es nun weiter touren, touren und dann?

Gibt es auch mal eine Auszeit? Oder ist schon ein neues Projekt in Planung? Ende des Jahres haben wir hoffentlich das Moderat Album am Start... wir versuchen endlich mal dran zu arbeiten. Fllig ist es auf jeden Fall! Gibt es Auftritte bzw. Orte whrend der anstehenden Tour auf die du dich besonders freust? Ich freu mich auf alle Open Air Gigs. Ist schon toll wenn man nicht nach Rauch stinkt am nchsten Tag... aber umso deprimierender wenn es dann regnet. Und bei dem wahnsinnigen Klima gerade wei man das ja nie... Was brauchst du fr einen perfekten Tag? Nen Motorradausflug in die Natur.

CURRENT ALBUM:

Walls

Interview Michael Mck Rights reserved Cuemix-Magazine ///////////////////////////////////////////////////////////////////// http://www.apparat.net /////////////////////////////////////////////////////////////////////

SASCHA
RING

AKA

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NUMBER
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SIX

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