What are the common senses or elements of other people’s work that you find attractive?A sensitivity to rhythm, an understanding of dynamics and intensity, a certain kind of energy. I often find that in Black music, R&B and jazz, soul and funk, hip-hop and dub. But also the ability to reduce, to limit to what is musically necessary are qualities that fascinate me.
The development of digital technology has made it easy for anyone to create electronic music. What is your honest opinion on this situation?I am glad about it. The amount is huge and the range is enormous. There’s probably a lot of crap, too. But I don’t go looking for new music myself. Mostly, I get recommendations from friends or colleagues who tell me listen to this, listen to that. Or, I hear something interesting when I go to concerts.
You have used a variety of instruments and devices in the past. What are some of the inspirations and possibilities for expression that can only come from understanding the structure and properties of such devices?Understanding the function of each of the instruments and devices I have used over the years has been a source of inspiration, whether a tape machine, a mixer or a simple drum machine. But of course there are also very complex software like Logic or Live. Or certain devices, for example the Clavia Nord Modular. Understanding that was very inspiring and I recorded several albums just with it.
There is a certain organic feeling to electronic music despite its digital nature. What is your view on this?I think, first of all, that electronic music is not necessarily digital music. Electronic music started out as an analogue affair, and to a certain extent it still is. And secondly, despite of analogue or digital origin, I think that the term “organic” as a quality varies greatly from listener to listener. Creating and conveying that feeling again depends on the skill, ingenuity and experience of the musician.
Please tell us about Con-Struct, which was created by deconstructing and reconstructing the late Conrad Schnitzler’s vast archive of sound sources. I think that confronting Schnitzler’s materials has deepened your understanding of his attitude to sound, but what part of his idea did you most deeply sympathize with? Furthermore, what was the greatest challenge or issue in this production?To be honest, I never really sympathized with Conrad Schnitzler’s sounds. I always found them very rough, mechanical, anarchic. That was the problem and at the same time the challenge: how can I integrate his sounds into my composition?
I had access to Schnitzler’s archive and picked out a palette of sounds from it, and then decided to work with a modular system, with samplers, sequencers, filters and effects. I am not sure that my Con-Struct is a successful one—but I think there are a few good moments.