Who is your favorite classical composer? Do you have one?
I don’t have a particular one, its more a variety of composers who’s certain works I appreciate, Messiaen, Copland, Claud Debussy, Samuel Barber, Schumann, Ralph Vaughn Williams, Schubert, Beethoven, Mahler, Satie, Webern, Stravinsky. I have also a particular interest in 20th Century Avantgarde composers such as Cage, Stockhausen, Schaeffer, Tudor, La Monte Young, Earle Brown, Charles Dodge, Xenakis, Ligeti, and many others.
When did you start composing electronic music?
Around late 1977 / 78
How did you hear about the 9 Beet Stretch?
Through a Friend and colleague
The world is upside down, how does living in the shade of COVID has impacted your creative work?
Apart from the lockdown on live performance opportunities which has been severe, I don’t think its had any real effect on my creative process or approach, that has not changed as creatively I’m always producing and working on Art in numerous media, so my focus always remains towards the creation of new works.
What projects are you currently working on?
At this time several projects, such as the TAG ‘Organ Needles’ Box which is close to completion and which is a collection of works with collaborations with numerous Artists and friends inc Carl Michael Von Hausswollf, BJ Nilsen, Stephen Thrower, and Dave Knight of Unica Zurn, Michael Esposito, Mykel Boyd, Coagulant, and other Artists. The Box also has a USB with all the Audio plus 6 Film works, 10 Art Postcards, and a Printed Tote Bag. The Meontological Research recording 3 ’Transmission from the trans-Yoggothian Broadcast Station’which is a limited edition Hard Back Bound Book with a USB card and it will also be available as a Paperback edition with a USB Card, the USB contains Audio and Visual works and a live Document of the TAG MEON CUBE PERFORMANCE. Two Solo Album Projects and a specialized TAG project. Plus collaborations on a special project, and further work on new DVA material.
Should electronic music be purely academic (Does an Electronic music artist need to be formally trained in music?)
Speaking for myself I come from a Visual background as a Painter, so I have no formal background in music, my involvement began with my tape experiments inside the Electronic Trio The Future and develop from there. So I think Electronic music is open to both academic and non-academic approaches.
In your opinion, what is the merit of improvisation and experimentation?
Well, improvisation is very important in terms of creating a way of accessing the intuitive aspects of the mind and spirit which leads to new possibilities and creativity. Experimenting is a way of testing ideas or techniques and materializing the results, so it’s very important in development, whether that’s Music, Art, or Science
What do you think as an artist about the juxtaposition-fusion of classical and electronic music?
Music is something we Audition and its also a feeling which is individual, so music/sound is a personal experience and something that changes person to person. There are no boundaries only those that are set by a closed mind. The possibilities must be open.
How do you envision the future of electronic music?
It’s very difficult to predict, but technologies are in many ways focused on advancement in one way or another so this can create new elements. The expression of an Art that connects Human emotion and Transcends it, has always been central to art, I don’t think this changes only the techniques and the Artists, but fundamentally it is the expression of the Individual Artists Psyche and that has remained constant throughout in lesser and larger degrees over many centuries.